
Book. A^K^ 

Copyright IJ" 



COPYRIGHT DEPOSm 



Mp, WILLI AM 



SHAKESPEARES 



COMEDIES, 

HISTORIES, i^ 
TPvAGEDIES. 



Publilliecl accofuaic^ t. ■' 



Conn: 




Pi mted by Ffaac laggard, and Ed . Bi on m. 1 6 1 ^' 



Reduced facsimile of the titlk-pagh of the first folio. 



/iRerriirs JEngltsb Olexts 



SHAKESPEARE'S 
MERCHANT OF VENICE 



EDITED WITH AN INTRODUCTION AND NOTES 
BY BRAINERD KELLOGG, LL.D., FORMERLY 
DEAN OF THE FACULTY AND PROFESSOR OF 
THE ENGLISH LANGUAGE AND LITERATURE 
IN THE POLYTECHNIC INSTITUTE, BROOKLYN 




NEW YORK 
CHARLES E. MERRILL CO. 

44-60 East Twenty-third Street 






ittscnilVe JSnglieb Zcxte 

This series of books includes in complete editions those master- 
pieces of English Literature that are best adapted for the use of 
schools and colleges. The editors of the several volumes are 
chosen for their special qualifications in connection with the texts 
issued under their individual supervision, but familiarity with the 
practical needs of the classroom, no less than sound scholarship, 
characterizes the editing of every book in the series. 

In connection with each text, a critical and historical introduc- 
tion, including a sketch of the life of the author and his relation to 
the thought of his time, critical opinions of the work in question 
chosen from the great body of English criticism, and, where 
possible, a portrait of the author, are given. Ample explanatory 
notes of such passages in the text as call for special attention are 
supplied, but irrelevant annotation and explanations of the obvious 
are rigidly excluded. 

CHARLES E. MERRILL COMPANY 



Copyright, 1910, 

BY* 

CHARLES E. MERRILL COMPANY 



©GU273250 



CONTENTS 

PAGE 

General Notice 5 

Introduction 7 

Life and Works of Shakespeare 7 

Analysis of the Play 12 

Critical Opinions 18 

Shylock 20 

Portia . 22 

Bassanio 24 

Jessica and Lorenzo 25 

Nerissa and Gratiano 27 

Laimcelot Gobbo 28 

Shakespeare's Grammar and Versification 29 

Plan of Study 32 

The Merchant of Venice 37 

Notes 143 

Questions and Topics for Study 176 



EDITOR'S NOTE 



The text here presented has been carefully collated with that of 
six or seven of the best editions. Where there was any disagree- 
ment we have adopted the readings which seemed most reasonable 
and were supported by the best authority. 

Professor Meiklejohn's exhaustive notes form the substance of 
those here used; and his plan, as set forth in the ^' General Notice" 
annexed, has been carried out in these volimies. But as these 
editions of the plays are intended rather for pupils in school and 
college than for ripe Shakespearian scholars, we have not hesi- 
tated to prune his notes of whatever was thought to be too learned 
for our purpose, or on other grounds was deemed irrelevant to 
it. 



GENERAL NOTICE 

*^An attempt has been made in these editions to interpret 
Shakespeare by the aid of Shakespeare himself. The Method of 
Comparison has been constantly employed; and the language used 
by him in one place has been compared with the language used in 
other places in similar circumstances, as well as with older English 
and with newer English. 

''The first purpose in this elaborate annotation is, of course, 
the full working out of Shakespeare's meaning. The Editor has 
in all circumstances taken as much pains with this as if he had been 
making out the difficult and obscure terms of a will in which he 
himself was personally interested; and he submits that this thor- 
ough excavation of the meaning of a really profound thinker is 
one of the very best kinds of training that a boy of girl can receive 
at school. This is to read the very mind of Shakespeare, and to 
weave his thoughts into the fibre of one's own mental constitution. 
And always new rewards come to the careful reader — in the shape 
of new meanings, recognition of thoughts he had before missed, 
of relations between the characters that had hitherto escaped 
him. For reading Shakespeare is just like examining Nature; 
there are no hollownesses, there is no scamped work, for Shake- 
speare is as patiently exact and as first-hand as Nature herself. 

*' Besides this thorough working-out of Shakespeare's meaning, 
advantage has been taken of the opportunity to teach his English 
— to make each play an introduction to the English of Shake- 
speare. For this purpose copious collections of similar phrases 
have been gathered from other plays; his idioms have been dwelt 
upon; his peculiar use of words; his style and his rythm. Some 
teachers may consider that too many instances are given; but, in 
teaching, as in everything else, the old French saying is true: 



6 GENERAL NOTICE 

Assez n^y o, sHl trop n^y a. The teacher need not require each 
pupil to give him all the instances collected. If each gives one or 
two, it will probably be enough; and, among them all, it is certain 
that one or two will stick in the memory. 

*'It were much to be hoped that Shakespeare should become 
more and more of a study, and that every boy and girl should have 
a thorough knowledge of at least one play of Shakespeare before 
leaving school. It would be one of the best lessons in human life. 
It would also have the effect of bringing back into the too pale 
and formal English of modern times a large number of pithy and 
vigorous phrases which would help to develop as w^ell as to reflect 
vigor in the characters of the readers. Shakespeare used the 
English language with more power than any other wTiter that ever 
lived — he made it do more and say more than it had ever done; 
he made it speak in a more original way; and his combinations of 
words are perpetual provocations and invitations to originality 
and to newness of insight.'' — J. M. D. Meiklejohn, M. A., Late 
Professor of Pedagogy in the University of St. Andrews. 



INTRODUCTION 

LIFE AND WORKS OF SHAKESPEARE 

''Shakespeare was born, it is thought, April 23, 1564, the son of 
a comfortable burgess of Stratford-on-Avon. While he was still 
young, his father fell into poverty, and an interrupted education 
left the son an inferior scholar. He had 'small Latin and less 
Greek.' But by dint of genius and by living in a society in which 
all sorts of information were attainable, he became an accomplished 
man. The story told of his deer-stealing in Charlecote woods is 
without proof, but it is likely that his youth was wild and passion- 
ate. At nineteen he married Ann Hathaway, seven years older 
than himself, and was probably unhappy with her. For this 
reason or from poverty, or from the driving of the genius that led 
him to the stage, he left Stratford about 1586-1587, and went to 
London at the age of twenty-two; and, falling in with Marlowe, 
Greene, and the rest, he became an actor and a playwright, and 
may have lived their unrestrained and riotous life for some years. 

"His First Period. — It is probable that before leaving Strat- 
ford he had sketched a part at least of his Venus and Adonis. It 
is full of the country sights and sounds, of the ways of birds and 
animals, such as he saw when wandering in Charlecote woods. Its 
rich and overladen poetry and its warm coloring made him, when 
it was published, in 1593, at once the favorite of men Hke Lord 
Southampton, and lifted him into fame. But before that date he 
had done work for the stage by touching up old plays and writing 
new ones. We seem to trace his 'prentice hand' in many dramas 
of the time, but the first he is usually thought to have retouched is 
Titus Andronicus, and, some time after, the First Part of Henry VI. 

*^ Lovers Lahour^s Lost, the first of his original plays, in which he 

7 



8 INTRODUCTION 

quizzed and excelled the Euphuists in wit, was followed by the 
rapid farce of The Comedy of Errors. Out of these frolics of intellect 
and action he passed into pure poetry in A Midsummer Nighfs 
Dream J and mingled into fantastic beauty the classic legend, the 
mediaeval fairyland, and the clownish life of the English mechanic. 
Italian story then laid its charm upon him, and Two Gentlemen of 
Verona preceded the southern glow of passion in Romeo and Juliet^ 
in which he first reached tragic power. They complete, with 
Lovers Labour's Won, afterwards recast as AWs Well That Ends 
Well, the love plays of his early period. We may, perhaps, add 
to them the second act of an older play, Edward III. We should 
certainly read along with them, as belonging to the same passion- 
ate time, his Rape of Lucrece, a poem finally printed in 1594, one 
year later than the Venus and Adonis. 

'^The patriotic feeling of England, also represented in Marlowe 
and Peele, now seized on him, and he turned from love to begin 
his great series of historical plays with Richard 11, 1593-1594. 
Richard III followed quickly. To introduce it and to complete 
the subject, he recast the Second and Third Parts of Henry VI 
(written by some unknown authors), and ended his first period 
with King John — five plays in a little more than two years. 

"His Second Period, 1 596-1 602. — In The Merchant of Venice 
Shakespeare reached entire mastery over his art. A mingled woof 
of tragic and comic threads is brought to its highest point of color 
when Portia and Shylock meet in court. Pure comedy followed in 
his retouch of the old Taming of the Shrew, and all the wit of the 
world, mixed with noble history, met next in the three comedies 
of Falstaff, the First and Second Parts of Henry IV, and the Merry 
Wives of Windsor. The historical plays were then closed with 
Henry F, a splendid dramatic song to the glory of England. 

''The Globe theater, in which he was one of the proprietors, was 
built in 1599. In the comedies he wrote for it, Shakespeare turned 
to write of love again, not to touch its deeper passion as before, 
but to play with it in all its fighter phases. The flashing dialogue 
of Much Ado About Nothing was followed by the far-off forest 
world of ^s You Like It, where Hhe time fleets carelessly,' and 



LIFE AND WORKS OF SHAKESPEARE 9 

Rosalind's character is the play. Amid all its gracious lightness 
steals in a new element, and the melancholy of Jaques is the first 
touch we have of the older Shakespeare who had 'gained his 
experience, and whose experience had made him sad.' And yet 
it was but a touch; Twelfth Night shows no trace of it, though the 
play that followed. All's Well That Ends Well, again strikes a 
sadder note. We find this sadness fully grown in the later sonnets, 
which are said to have been finished about 1602. They were pub- 
lished in 1609. 

'^ Shakespeare's life changed now, and his mind changed with 
it. He had grown wealthy during this period and famous, and was 
loved by society. He was the friend of the Earls of Southampton 
and Essex, and of William Herbert, Lord Pembroke. The queen 
patronized him; all the best literary society was his own. He had 
rescued his father from poverty, bought the best house in Strat- 
ford and much land, and was a man of wealth and comfort. Sud- 
denly all his life seems to have .grown dark. His best friends fell 
into rum, Essex perished on the scaffold, Southampton went to 
the Tower, Pembroke was banished from the Court; he may him- 
self, as some have thought, have been concerned in the rising of 
Essex. Added to this, we may conjecture, from the imaginative 
pageantry of the sonnets, that he had unwisely loved, and been 
betrayed in his love by a dear friend. Disgust of his profession 
as an actor, and public and private ill weighed heavily on him, 
and in darkness of spirit, though still clinging to the business of 
the theater, he passed from comedy to write of the sterner side of 
the world, to tell the tragedy of mankind. 

"His Third Period, 1602-1608, begins with the last days of 
Queen Elizabeth. It contains all the great tragedies, and opens 
with the fate of Hamlet, who felt, like the poet himself, that 'the 
time was out of joint.' Hamlet, the dreamer, may well represent 
Shakespeare as he stood aside from the crash that overwhelmed 
his friends, and thought on the changing world. The tragi-comedy 
of Measure for Measure was next written, and is tragic in thought 
throughout. Julius Coesar, Othello, Macbeth, Lear, Troilus and 
Cressida (finished from an incomplete work of his youth), Antony 



10 INTRODUCTION 

and Cleopatra, Coriolanus, Timon (only in part his own), were all 
written in these five years. The darker sins of men, the iinpitying 
fate which slowly gathers round and falls on men, the avenging 
wrath of conscience, the cruelty and punishment of weakness, the 
treachery, lust, jealousy, ingratitude, madness of men, the follies 
of the great, and the fickleness of the mob are all, with a thousand 
other varying moods and passions, painted, and felt as his own 
while he painted them, during this stern time. 

"His Fourth Period, 1 608-1 613. — As Shakespeare wrote of 
these things, he passed out of them, and his last days are full of 
the gentle and loving calm of one who has known sin and sorrow 
and fate but has risen above them into peaceful victory. Like his 
great contemporary, Bacon, he left the world and his own evil time 
behind him, and with the same quiet dignity sought the innocence 
and stillness of country fife. The country breathes through all 
the dramas of this time. The flowers Perdita gathers in The 
Winter^s Tale, and the frolic of the sheep-shearing he may have 
seen in the Stratford meadows; the song of Fidele in Cymheline is 
written by one who already feared no more the frown of the great, 
nor slander nor censure rash, and was looking forward to the time 
when men should say of him — 

Quiet consummation have; 
And renowned be thy grave! 

''Shakespeare probably left London in 1609, and Hved in the 
house he had bought at Stratford-on-Avon. He was reconciled, it 
is said, to his wife, and the plays he writes speak of domestic peace 
and forgiveness. The story of Marina, which he left unfinished, and 
which two later writers expanded into the play of Pericles, is the 
first of his closing series of dramas. The Two Noble Kinsmen of 
Fletcher, a great part of which is now, on doubtful grounds, I 
think, attributed to Shakespeare, and in which the poet sought 
the inspiration of Chaucer, would belong to this period. Cymheline, 
The Winter's Tale, and The Tempest bring his history up to 1612, 
and in the next year he closed his poetic life by writing, with 
Fletcher, Henry VIIL For three years he kept silence, and then^ 



LIFE AND WORKS OF SHAKESPEARE 11 

on the 23d of April, 1616, the day he reached the age of fifty-two, 
as is supposed,. he died. 

"His Work. — We can only guess with regard to Shakespeare's 
life; we can only guess with regard to his character. We have 
tried to find out what he was from his sonnets and from his plays, 
but every attempt seems to be a failure. We cannot lay our hand 
on anything and say for certain that it was spoken by Shakespeare 
out of his own character. The most personal thing in all his writ- 
ings is one that has scarcely been noticed. It is the Epilogue to 
The Tempest; and if it be, as is most probable, the last thing he 
ever wrote, then its cry for forgiveness, its tale of inward sorrow, 
only to be relieved by prayer, give us some dim insight into how 
the silence of those three years was passed; while its declaration 
of his aim in writing, ^ which was to please,' — the true definition 
of an artist's aim, — should make us cautious in our efforts to de- 
fine his character from his works. Shakespeare made men and 
women whose dramatic action on each other, and towards a catas- 
trophe, was intended to please the public, not to reveal himself. 

*'No commentary on his writings, no guesses about his life or 
character, are worth much which do not rest on this canon as their 
foundation: What he did, thought, learned, and felt, he did, 
thought, learned, and felt as an artist. . . . Fully influenced, as 
we see in Hamlet he was, by the graver and more philosophic cast 
of thought of the later time of Elizabeth; passing on into the reign 
of James I, when pedantry took the place of gayety, and sensual 
the place of imaginative love in the drama, and artificial art the 
place of that art which itself is nature; he preserves to the last the 
natural passion, the simple tenderness, the sweetness, grace, and 
fire of the youthful Elizabethan poetry. The Winter's Tale is as 
lovely a love story as Romeo and Juliet. The Tempest is more 
instinct with imagination than A Midsummer Night's Dream, and 
as great in fancy; and yet there are fully twenty years between 
them. The only change is in the increase of power, and in a closer 
and graver grasp of human nature. Around him the whole tone 
and manner of the drama altered for the worse, but his work 
grew to the close in strength and beauty." — Stopford Brooke. 



ANALYSIS OF THE PLAY 

The Characters. — " The Merchant of Venice is one of the most 
popular creations of the great poet, and unites within itself 
all the charms of Shakespeare's poetry. In the first place, let 
us consider the characterization. 

"Apart from the numerous other characters, which are as 
true to life as they are clearly and consistently developed, and 
which balance and set off one another in organic contrasts: — 
the noble and high-minded but passive and melancholy Antonio, 
who is little suited to bear the burden of an active, energetic life, 
and is so well described in the words 'a princely merchant %* his 
gay and sincere friend, Bassanio, who is certainly somewhat 
frivolous, but amiable and intelligent, a true Italian gentiluomo 
in the best sense of the word; his comrades Lorenzo and Gratiano; 
further, Portia, who is no less amiable than she is intellectual, 
and her graceful maid, Nerissa; also Jessica, that child of nature, 
who loses herself in the enthusiasm of her Eastern passion of 
love, — apart from all these firmly and accurately delineated 
characters, down to the silly Launcelot Gobbo and his childish 
old father, we have in Shylock, the Jew, a true masterpiece of 
characterization. . . . 

Sources of the Plot. — '^As we here have the most brilliant 
display of Shakespeare's masterly skill in characterization, so 
his skill as regards the composition, the arrangement, and the 
development of the complicated substance of the action is no 
less admirable. The invention, it is true, is not altogether his 
own; the greater part of it is taken from a novel of Giovanni 
Fiorentino's, II Pecorone (which was written in 1378, but not 
printed till 1558), and the subject of this novel again was 
borrowed from the Gesta Romanorum, another part of which 
contains the principal features of the story of the three caskets, 

12 



ANALYSIS OF THE PLAY 13 

which, however, is different in point. Still, these sources, and 
more especially the Gesta Romanorum, which probably Shakespeare 
alone made use of, would have furnished the poet with but a 
thin skeleton which he would have had to clothe with flesh and 
blood; besides which, he has freely added several characters, 
and increased the complication by the introduction of a new 
episode. 

Construction of the Play. — "We here find three strange 
and complex knots wound one into another: first, the lawsuit 
between Antonio and Shylock; then, Bassanio's courtship and 
that of the other three suitors for Portia, and Gratiano's for 
Nerissa; lastly, Jessica's love for and elopement with Lorenzo. 
These manifold relations, actions, and * incidents are arranged 
with such great clearness (the one developed out of and with 
the other) that we nowhere lose the thread; that every separate 
part is harmoniously connected with the other; and that, in the 
end, all is rounded off into an organic whole. . . 

"We may add that Portia's fate, owing to the obstinacy of 
her deceased father, appears bound to be the decision of chance; 
and that, in contrast to this, her maid Nerissa voluntarily makes 
her own happiness dependent upon the fortune of her mistress; 
and that, again, their constrained will and inclinations form a 
decided contrast to Jessica's voluntary choice, which offends 
both law and right. . . . 

"Where is the internal unity which — before the tribunal of 
criticism — can alone justify the combination of such heterogeneous 
elements in one drama? . . . An actual connection, by 
means of the thread of incidents, is indeed clearly enough set 
forth, for it is owing to Antonio's self-sacrificing readiness to 
comply with his friend's wishes that he falls into the Jew's clutches, 
and owing to Portia's wit and inventive genius that he is saved; 
and the courses of the two other love intrigues are connected 
with these. But this bond obviously is purely external, accidental; 
what, in its inner, essential meaning, has the unhappy lawsuit 
(which verges upon the tragic) to do with the gay, happy court- 
ship of Bassanio and Portia? .... 



14 INTRODUCTION 

"In regard to the question as to where this unity is to be found, 
commentators disagree here more than in the case of most of 
Shakespeare's dramas. And it certainly does, in the present 
case, seem as if the multifarious elements of the action were of 
a strange and opposite kind of nature; therefore we cannot feel 
surprised that some critics should doubt whether the elements 
are combinable. And the details also assert themselves with so 
much decision, are so free and independent, stand out of the 
picture in so full and well-rounded a manner, that they involun- 
tarily rivet the eye, and, so to say, lead captive the mind. Hence 
it becomes difficult to withdraw one's gaze from the graceful 
movements of the several figures, from the beautiful coloring 
and {he lovely play of light and shade, in order to look for the 
invisible threads which run through, and hold all the several 
parts together. 

"In the first place, as regards the lawsuit between Antonio 
and the Jew, there can, as I think, be scarcely any doubt that 
its meaning and significance coincide with the old juristic pro- 
position: Summum jus summa injuria [the strictest law, the 
greatest injustice]. . . . The proposition merely maintains 
that an acknowledged and positive law turns into its opposite 
and becomes a wrong when carried to the extreme point of its 
limited nature and one-sided conception, and when driven to its 
extreme consequence. 

'^Shylock holds fast to the law. Forbearance, gentleness, 
kindliness . . . .he has never known; injustice, harsh- 
ness, and contempt stood around his cradle, hate and persecution 
obstructed every step of his career. With convulsive vehemence, 
therefore, he clutches hold of the law, the small morsel of justice 
which cannot be withheld even from the Jew. This legal, formal, 
external justice Shylock obviously has on his side, but by taking 
and following it to the letter, in absolute one-sidedness, he falls 
into the deepest, foulest wrong, which then necessarily recoils 
ruinously upon his own head. 

"The same view of the double-edged nature of justice, which 
is here set forth in its utmost subtilty, is, however, I think, also 



ANALYSIS OF THE PLAY 15 

exhibited in manifold lights and shades through the other parts 
of the play. The determination of Portia's father, which de- 
prives her of all participation in the choice of a husband, is indeed 
based upon paternal right, but this very right — even though 
justified by the best intentions of anxious affection — is again, 
at the same time, a decided wrong. . . . Who would have 
cast a stone at her had she broken her vow and guided her well- 
beloved, amiable, and worthy lover, by hints and intimations, 
in making the right choice? The wrong, which is here again 
contained within what is in itself right, would have fallen with 
tragic force had not accident — in the form of a happy thought, 
as in the case of the lawsuit — led to a happy result. . . . 

"The penalty which the court imposes upon the Jew, and by 
which he is compelled to sanction the marriage of his daughter 
with Lorenzo, also neutralizes the conflicting elements more in 
an external and accidental manner than by true and internal 
adjustment. Lastly, right and wrong are no less carried to their 
extreme points, and consequently placed in a balancing state of 
uncertainty, in the quarrel between the two loving couples about 
the rings which they had parted with, in violation of their sworn 
promises, — a scene with which the play closes. . . . 

''Thus we see that the meaning and significance of the many, 
apparently, heterogeneous elements are united in one point; 
they are but variations of the same theme. HUman life itself 
is conceived as a great lawsuit, and justice as the foundation and 
center of all existence. . . . No doubt the end of law and 
justice ought to be to maintain and support human life. But 
they do not form the base and center; they do not include the 
full value or the whole truth of human existence. When con- 
ceived in so one-sided a manner, they, on the contrary, neutralize 
each other and all life as well; right becomes wrong, and wrong 
right. Law and justice form, rather, but a single side of the 
whole. . . . Life is not based upon what is right, but upon 
love and mercy. Love with its indulgence and clemency, is the 
higher stage above what is just. . . . 

The Play as Comedy. — ''Objection has been raised against 



16 INTRODUCTION 

this drama, inasmuch as it has been supposed that the scene in 
court, with its tragic seriousness, is inappropriate to the cheerful 
coloring of the whole; that the treatment of the Jew, especially 
his being compelled to become a Christian, is offensive to the 
feelings and disturbing to the state of mind into which the play 
has thrown us — that, therefore, it remains a matter of doubt as 
to which species of drama this play ought to belong. But Shake- 
speare, as I think, has clearly enough intimated that he does not 
in any way consider Shylock a tragic character. . . . 

"That Shakespeare himself intended the piece to be regarded 
as a comedy is attested, not only by its being included among 
his comedies by Heminge and Condell (in the first part of the 
folio edition), but especially by the fifth act in the play itself, 
which follows directly upon the trial scene. ... It not only 
entirely effaces any tragic impressions that may have been left 
by the fourth act, but all dissonances, all harsh discords, are 
resolved into the purest harmony. The gay, graceful dalliance 
of happy and genuine love puts an end to the sharp contrasts 
between right and wrong, between appearance and reality, be- 
tween the spirit and the letter; they neutralize each other be- 
cause they cannot exist in the face of truth and love, which are 
the true anchorage of human life. 

" As previously, the tragic sorrow — which is a part of Antonio's 
fate — was everywhere described in the softest colors, and the 
bitterness appeared clothed in the form of that peaceful, gentle, 
submissive sadness into which Antonio's melancholy resolves 
itself (which clearly enough gives us a glimmer of the happy 
issue), so the last act most distinctly gives the piece its comic 
stamp, and playfully puts a mask over its serious character. We 
cannot but admire the artistic skill of the poet who, while ap- 
parently violating the rules of his art, and thus in danger of being 
accused by the multitude of failure of effect, nevertheless 
pursued his object so steadily and consistently, and attained it 
so surely. . . . 

Date of Composition. — ^^The Merchant of Venice must have 
been written before 1598, as it is mentioned by Meres. Hence 



ANALYSIS OF THE PLAY 17 

it belongs to the first decade of Shakespeare's artistic labors, 
and has, most probably, to be assigned to the year 1597. This 
is also the opinion of Chalmers and Drake, and with them of 
Tieck and others. Malone, who places it in 1598 without giving 
any reason, does not appear to have considered that if it had been 
written in that year it could not well have been mentioned by 
Meres. The oldest print, in two different quartos, belongs to 
the year 1600. It is astonishing what progress Shakespeare had 
made in these few years, when we compare this play with the 
Two Gentlemen of Verona, or with The Comedy of Errors. ^^ — Ulrici, 
Shakespeare's Dramatic Art, 



CRITICAL OPINIONS 

" The Merchant of Venice is one of Shakespeare's most perfect 
works: popular to an extraordinary degree and calculated to 
produce the most powerful effect on the stage, and at the same 
time a wonder of ingenuity and art for the reflecting critic. 

'^The melancholy and self -neglectful magnanimity of Antonio 
is affectingly sublime. Like a princely merchant, he is surrounded 
with a whole train of noble friends. The contrast which this 
forms to the selfish cruelty of the usurer Shylock was necessary 
to redeem the honor of human nature. The danger which hangs 
over Antonio till toward the conclusion of the fourth act, and 
which the imagination is almost afraid to approach, would fill 
us with too painful anxiety, if the poet did not also provide for 
our entertainment and diversion. This is particularly effected 
by the scenes at the country seat of Portia, which transport 
the spectator into quite another sphere. And yet they are closely 
connected, by the chain of cause and effect, with the main business: 
the preparations of Bassanio for his courtship are the cause of 
Antonio's subscribing the dangerous bond; and Portia, by the 
advice of her uncle, a celebrated councillor, effects the safety of 
the friend of her lover. 

"But the relations of the dramatic composition are admirably 
observed in still another respect. The trial between Shylock and 
Antonio, though it proceeds like a real event, still remains an 
unheard-of and singular case. Shakespeare has consequently 
associated with it a love intrigue not less extraordinary; the one 
is rendered natural and probable by means of the other. A 
rich, beautiful, and clever heiress, who can be won only by the 
solving of a riddle; the locked caskets; the foreign princes who 
come to try the adventure, — with all this wonderful splendor 
the imagination is powerfully excited. The two scenes in which 

18 



CRITICAL OPINIONS 19 

the Prince of Morocco, in the language of Eastern hyperbole, 
and the self- conceited Prince of Arragon make their choice among 
the caskets, merely raise our curiosity and give employment 
to our wits; on the third, where the two lovers stand trembling 
before the inevitable choice, which in one moment must unite 
or separate them forever, Shakespeare has lavished all the charms 
of feeling, all the magic of poetry. We share in the rapture of 
Portia and Bassanio at the fortunate choice; w^e easily conceive 
why they are fond of each other, for they are both most deserving 
of love. 

"The judgment scene, with which the fourth act is occupied, 
is in itself a perfect drama, concentrating the interest of the whole. 
The knot is now untied, and, according to the common ideas of 
theatrical satisfaction, the curtain might drop. But the poet was 
unwilling to dismiss his audience with the gloomy impressions 
which the delivery of Antonio, accomplished with so much dif- 
ficulty, contrary to all expectation, and the punishment of Shy- 
lock were calculated to leave behind; he has therefore added the 
fifth act by way of a musical afterpiece in the piece itself. The 
episode of Jessica, fugitive daughter of the Jew, . . . and 
the artifice by which Portia and her companion are enabled to 
rally their newly married husbands, supply him with the materials. 
The scene opens with the playful prattling of two lovers in a 
summer evening; it is followed by soft music and a rapturous 
eulogy on this powerful disposer of the human mind and the 
world; the principal characters then make their appearance, and, 
after an assumed dissension, which is gracefully carried on, the 
whole ends with the most exhilarating mirth.'' — Schlegel, 
Lectures on Dramatic Art and Literature. 

" The Merchant of Venice is generally esteemed the best of 
Shakespeare's comedies. In the management of the plot, which 
is sufficiently complex without the slightest confusion or in- ' 
coherence, I do not conceive that it has been surpassed in the 
annals of any theater. Yet there are those who still affect to 
speak of Shakespeare as a barbarian; and others who, giving 



20 INTRODUCTION 

what they think due credit to his genius, deny him all judgment 
and dramatic taste. A comparison of his works with those of 
his contemporaries — and it is surely to them that we should look — 
will prove that his judgment is by no means the least of his rare 
qualities. This is not so remarkable in the mere construction 
of his fable, though the present comedy is absolutely perfect in 
that point of view, and several others are excellently managed, 
as in the general keeping of the characters and the choice of in- 
cidents. . . . The variety of characters in The Merchant of Venice 
and the powerful delineation of those upon whom the interest 
chiefly depends, the effectiveness of many scenes in representation, 
the copiousness of the wit, and the beauty of the language, it 
would be superfluous to extol.'' — Hallam. 



Shylock 

"In proportion as Shylock has ceased to be a popular bugbear, 
'baited with the rabble's curse,' he becomes a half-favorite with 
the philosophical part of the audience, who are disposed to think 
that Jewish revenge is at least as good as Christian injuries. 
Shylock is a good hater, ' a man no less sinned against than sinning.' 
If he carries his revenge too far, yet he has strong grounds for 
'the lodged hate he bears Antonio,' which he explains with equal 
force of eloquence and reason. 

"He seems the depository of the vengeance of his race; and, 
though the long habit of brooding over daiJy insults and injuries 
has crusted over his temper with inveterate misanthropy, and 
hardened him against the contempt of mankind, this adds but 
little to the triumphant pretensions of his enemies. There is a 
strong, quick, and deep sense of justice mixed up with the gall and 
bitterness of his resentment. The constant apprehension of being 
burnt alive, plundered, banished, reviled, and trampled on, might 
be supposed to sour the most forbearing nature, and to take 
something from that 'milk of human kindness,' with which his 
persecutors conteinplated bis indignities, 



CRITICAL OPINIONS 21 

"The desire of revenge is almost inseparable from the sense of 
wrong; and we can hardly help sympathizing with the proud 
spirit hid beneath his ^Jewish gaberdine/ stung to madness by 
repeated undeserved provocations, and laboring to throw off 
the load of obloquy and oppression heaped upon him and all his 
tribe by one desperate act of ^iawfuF revenge, till the ferociousness 
of the means by which he is to execute his purpose, and the per- 
tinacity with which he adheres to it, turn us against him. But 
even at last, when disappointed of the sanguinary revenge with 
which he had glutted his hopes, and exposed to beggary and con- 
tempt by the letter of the law on which he had insisted with so 
little remorse, we pity him, and think him hardly dealt with by 
his judges. 

'^In all his answers and retorts upon his adversaries, he has 
the best, not only of the argument, but of the question, reasoning 
on their own principles and practice. They are so far from allow- 
ing any measure of equal dealing, of common justice or humanity 
between themselves and the Jew, that even when they come to 
ask a favor of him, and Shylock reminds them that on such a 
day they spit upon him; another, spurned him; another, called 
him dog; and for these courtesies they request he'll lend them 
so much money, — Antonio, his old enemy, instead of any ac- 
knowledgment of the shrewdness and justice of this remonstrance, 
which would have been preposterous in a respectable Catholic 
merchant in those times, threatens him with a repetition of the 
same treatment: — 

*I am as like to call thee so again. 

To spit on thee again, to spurn thee too.* 

"After this, the appeal to the Jew's mercy, as if there were 
any common principle of right and wrong between them, is the 
rankest hypocrisy or the blindest prejudice; and the Jew's answer 
to one of Antonio's friends who asks him what his pound of forfeit 
flesh is good for, is irresistible." — Hazlitt, Characters of Shake- 
speare^ s Plays. 



22 INTRODUCTION 

Portia 

" Portia is endued with her own share of those deHghtful qualities 
which Shakespeare has lavished on many of his female characters; 
but besides the dignity, the sweetness, and the tenderness which 
should distinguish her sex generally, she is individualized by 
qualities peculiar to herself; by her high mental powers, her 
enthusiasm of temperament, her decision of purpose, and her 
buoyancy of spirit. These are innate. She has other distinguish- 
ing qualities more external, which are the result of the circum- 
stances in which she is placed. She is the heiress of a princely 
home and countless wealth; a train of obedient pleasures have 
ever waited around her; and from infancy she has breathed an 
atmosphere redolent of perfume and blandishment. Accordingly, 
there is a commanding grace, a high-bred, airy elegance, a spirit 
of magnificence, in all that she does and says, as one to whom 
splendor had been familiar from her very birth. . . . 

'^She is full of penetrative wisdom, and genuine tenderness, 
and lively wit; but as she has never known want, or grief, or 
fear, or disappointment, her wisdom is without a touch of the 
sombre or the sad ; her affections are all mixed up with faith, hope, 
and joy; and her wit has not a particle of malevolence or caus- 
ticity. . . . 

'^The sudden plan which she forms for the release of her hus- 
band's friend, her disguise, and her deportment as the young 
and learned doctor would appear forced and improbable in any 
other woman, but in Portia are the simple and natural result of 
her character. The quickness with which she perceives the 
legal advantage which may be taken of the circumstances, 
the spirit of adventure with which she engages in the masquerading, 
and the decision, firmness, and intelligence with which she executes 
her generous purpose are all in perfect keeping, and nothing 
appears forced — nothing as introduced merely for theatrical 
effect. 

''But all the finest parts of Portia's character are brought to 
bear in the trial scene. There she shines forth, all her divine 



CRITICAL OPINIONS 23 

self. Her intellectual powers, her elevated sense of religion, 
her high, honorable principles, her best feelings as a woman, are 
all displayed. She maintains at first a calm self-command, as 
one sure of carrying her point in the end; yet the painful, heart- 
thrilling uncertainty in which she keeps the whole court, until 
suspense verges upon agony, is not contrived for effect merely; 
it is necessary and inevitable. She has two objects in view: 
to deliver her husband's friend, and to maintain her husband's 
honor by the discharge of his just debt, though paid out of her 
own wealth ten times over. It is evident that she would rather 
owe the safety of Antonio to anything rather than the legal quibble 
with which her cousin Bellario has armed her, and which she 
reserves as a last resource. Thus all the speeches addressed to 
Shy lock in the first instance are either direct or indirect experi- 
ments on his temper and feelings. . . . 

*''At length the crisis arrives, for patience and womanhood 
can endure no longer; and when Shylock, carrying his savage 
bent Ho the last hour of act,' springs on his victim — 'A sentence! 
come, prepare!' — then the smothered scorn, indignation, and 
disgust burst forth with an impetuosity which interferes with 
the judicial solemnity she had at first affected. . . . But 
she afterward recovers her propriety, and triumphs with a cooler 
scorn and a more self-possessed exultation. . . . 

"What shall be said of the casket scene with Bassanio, where 
every line which Portia speaks is so worthy of herself, so full of 
sentiment, and beauty, and poetry, and passion? Too naturally 
frank for disguise, too modest to confess her depth of love while 
the issue of the trial remains in suspense, the conflict between 
love and fear and maidenly dignity causes the most delicious 
confusion that ever tinged a woman's cheek or dropped in broken 
utterance from her lips. . . . 

"Portia's strength of intellect takes a natural tinge from the 
flush and bloom of her young and prosperous existence, and 
from her fervent imagination. In the casket scene, she fears 
indeed the issue of the trial, on which more than her life is haz- 
arded; but while she trembles, her hope is stronger tlum her 



24 INTRODUCTION 

fear. While Bassanio is contemplating the caskets, she suffers 
herself to dwell for one moment on the possibility of disappoint- 
ment and misery. . . . Then immediately follows that 
revulsion of feeling, so beautifully characteristic of the hopeful, 
trusting, mounting spirit of this noble creature. . . . 

''Her passionate exclamations of delight when Bassanio has 
fixed on the right casket are as strong as though she had despaired 
before. Fear and doubt she could repel — the native elasticity 
of her mind bore up against them; yet she makes us feel that, as 
the sudden joy overpowers her almost to fainting, the disappoint- 
ment would as certainly have killed her. . . . 

"In the last act, Shylock and his machinations being dis- 
missed from our thoughts and the rest of the dramatis personoB 
assembled together at Belmont, all our interest and all our at- 
tention are riveted on Portia, and the conclusion leaves the most 
delightful impression on the fancy. The playful equivoque T)f 
the rings, the sportive trick she puts on her husband, and her 
thorough enjoyment of the jest, which she checks just as it is 
proceeding beyond the bounds of propriety, show how little she 
was displeased by the sacrifice of her gift, and are all consistent 
with her bright and buoyant spirit. In conclusion, when Portia 
invites her company to enter her palace to refresh themselves 
after their travels and talk over 'these events at full,' the im- 
agination, unwilling to lose sight of the brilliant group, follows 
them in gay procession from the lovely moonlit garden to 
marble halls and princely revels, to splendor and festive mirth, 
to love and happiness." — Mns, Jameson, Characteristics of Women, 

Bassanio 

"Shakespeare has given emphasis to the alliance between 
Antonio and Bassanio, not merely by removing all secondary 
solicitations, but by giving depth and definition of the contrast 
of their characters, and, moreover, by exhibiting the truth of 
the attachment at a time when that contrast was still further 
enhanced by the current of accidents. . . . 



CRITICAL OPINIONS 25 

"Bassanio has lived like a prodigal, run in debt with his friendg, 
and now coolly proposes to his chief creditor to make a serious 
addition to his debt, on the speculation that it will give him a 
chance to pay all by that very precarious as well as undignified 
resort of making up to an heiress/' We are not very seriously 
offended at this because '^ we believe Bassanio on the same ground 
that Antonio does; we approve of the consent of Antonio on 
the same grounds that made Bassanio think it not wrong to ask 
it. The character of an act or a proceeding founds at last on 
the motive; and the motive is the man; and poetry and romance 
are allowed to invent perfections of humanity that may yet be 
unattainable. And thus in a poetic drama we admire and sym- 
pathize with a debt-burdened suitor to a wealthy lady, because 
there is no moral impossibility in the nature of things, of such a 
suit being in truth unsordid. . . . 

"Our faith is made happy when Bassanio, who has nothing 
either to give or to hazard, chooses the casket of least promising 
exterior, which neither flattei:s the self-glory, the noble infirmity 
of Morocco, of being an object of envy to mankind, nor appeals 
to the self-complacency that betrayed the Prince of Arragon 
by referring the chooser to the measure of his deserts, but, 
repelling rather than inviting, demands the resolution of self- 
sacrifice — 'Who chooses me must give and hazard all he hath.' 
. . . His is a spirit of that rare stamp, which fortunate persons 
even now meet with in the world, to conciliate good will, to attract 
kindness, and excite among those around a very rivalry of liberal- 
ities and good offices, and yet not to grow selfish, unsympathetic, 
and heartlessly incapable of conceiving, much less of returning, 
the affection it is proper to them to inspire." — Lloyd, Critical 
Essays on Shakespeare, 



Jessica and Lorenzo 

"It is observable that something of the intellectual brilliance 
of Portia is reflected on the other female characters of The Mer- 



26 INTRODUCTION 

chant of Venice^ so as to preserve in the midst of contrast a certain 
harmony and keeping. Thus Jessica, though properly kept 
subordinate, is certainly 

' A most beautiful Pagan — a most sweet Jew.* 

She cannot be called a sketch — or if a sketch, she is like one of 
those dashed off in glowing colors from the rainbow palette of a 
Rubens; she has a rich tinge of Orientalism shed over her, worthy 
of her Eastern origin. In any other play, and in any other com- 
panionship than that of the matchless Portia, Jessica would 
make a very beautiful heroine of herself. Nothing can be more 
poetically, more classically fanciful and elegant than the scenes 
between her and Lorenzo — the celebrated moonlight dialogue, 
for instance, which we all have by heart. Every sentiment she 
utters interests us for her, more particularly her bashful self- 
reproach when flying in the disguise of a page. . . . And the 
enthusiastic and generous testimony to the superior graces and 
accomplishments of Portia comes with a peculiar grace from her 
lips. We should not, however, easily pardon her for cheating 
her father with so much indifference, but for the perception that 
Shylock values his daughter far beneath his wealth." — Mrs. 
Jameson, Characteristics of Women. 

"The love scenes in Romeo and Juliet are grand, by reason of 
the tumult and ferment of the affections. . . . but for the 
calm and full contentment of luxurious ease in the enjoyment 
of a blissful consummation, there is no scene like this between 
little Jessica and her Lorenzo. By the way, he is surely quite 
as amenable to the charge of ^pedantry' as the ill-praised Portia 
[by Hazlitt]; for he talks sentiment and philosophy to his little 
wife like a professor in a college; whereas, in the hands of an 
inferior poet, he would have talked the common platitudes of 
the lovemaker. Lorenzo can, and very gracefully does, dally 
and sport with her in a contest of similes to their marriage- 
night, and very classical and pretty they are, Afterwards, 



CRITICAL OPINIONS 27 

turning upon the full glory of the Italian moonlight, he breaks 
into that angelic rapture: — 

* How sweet the moonlight sleeps upon this bank!* 

Charles Cowden-Clark, Shakespeare Characters. 

Nerissa and Gratiano 

"Nerissa is a fitting attendant-gentlewoman to Portia. She 
is lively, intelligent, and ever prompt to enter into the spirit of 
a plot, a disguise, or a playful equivoque, with her bridegroom- 
husband. . . . 

" Of Madam Nerissa, however, be it rather more than surmised 
from indications given, that she is one of that clan who will keep 
her husband trotting, partly . from legitimate and sex-honored 
exaction, and partly, perhaps, from liveliness of disposition; 
and, also, because he, being a good-natured fellow, will evi- 
dently spoil her. . . . 

"That husband, Gratiano, is a most delightful and most natural 
character. He is one of those useful men in society who will 
keep up the ball of mirth and good-humor, simply by his own 
mercurial temperament and agreeable rattle; for he is like a 
babbling, woodside brook, seen through at once, and presenting 
every ripple of its surface to the sunbeams of good-fellowship. . 

. . And, what is better than all, if a friend be in adversity, 
Gratiano will champion him with good words and deeds, if not 
with the most sagacious counsel. 

''He would, no doubt, talk a man off his legs; and therefore 
Shakespeare has brought him as a relief against the two grave 
men, Antonio and Bassanio, who, being both anxious on account 
of worldly cares, resent his vivacity, and they are, at all events, 
as peevish as he is flippant and inconsiderate. Bassanio says 
of Gratiano that he 'speaks an infinite deal of nothing'; that 
'his reasons are as two grains of wheat hid in two bushels of 
chaff; you shall seek all day ere you find them, and when you 
have them, they are not worth the search.' The best of all 



28 INTRODUCTION 

this is, that Bassanio himself advances no claim to be the 
censor of his Hvely companion, for, in comparison with him, 
he is dull in capacity, and the very observation just quoted 
follows one of the most agreeable and sensible speeches in the 
play, made by the infinite-deal-of-nothing Gratiano." — Charles 
Cowden-Clabke, Shakespeare Characters, 

Launcelot Gobbo 

"And now, for a pleasant wind-up, talk we of Master Launcelot; 
or. Master Launcelot Gobbo; or, good Gobbo; or, good Master 
Launcelot Gobbo. 

"In the old editions, Gobbo is called a clown, and in character 
he is a sort of mongrel between the thoroughbred jester-clown 
and the cur errand-boy. The vein of humor that distinguishes 
this class of persons must have been popular in Shakespeare's 
time, since he has repeated the character on various occasions. 
Launcelot is ... a fellow who will scramble through the world 
with a 'light heart and a thin pair of inexpressibles.' His spare 
diet at the Jew's does not waste his humor, and conscience will 
scarcely sit heavily on him in the night-watches, since the gravest 
misdemeanor that can be laid to his charge is that he runs away 
from a master in whose service he swears he is 'famished'; his 
master's character of him being: 'The patch is kind enough, 
but a huge feeder.' Nevertheless he says. 'You may tell every 
finger I have with my ribs.' And yet, with all this induce- 
ment, Launcelot sedately balances the question between his 
conscience to remain, and the temptation of Old Scratch to run 
away; and Old Scratch being right, for once, carries the de- 
bate." — Charles Cowden-Clarke, Shakespeare Characters, 



SHAKESPEARE'S GRAMMAR AND VERSIFICATION 

Shakespeare lived at a time when the grammar and vocabu- 
lary of the EngHsh language were in a state of transition. Various 
points were not yet settled; and so Shakespeare's grammar is not 
only somewhat different from our own but is by no means uni- 
form in itself. In the Elizabethan age, ' ' Almost any part of speech 
can be used as any other part of speech. An adverb can be used 
as a verb, 'They askance their eyes'; as a noun, 'the backward 
and abysm of time'; or as an adjective, 'a seldom pleasure.' Any 
noun, adjective, or intransitive verb can be used as a transitive verb. 
You can 'happy' your friend, 'mahce' or 'foot' your enemy, or 
'fair an axe on his neck. An adjective can be used as an adverb: 
and you can speak and act 'easy,' 'free,' 'excellent'; or as a noim, 
and you can talk of 'fair' instead of 'beauty,' and 'a pale' instead 
of 'a paleness.' Even the pronouns are not exempt from these 
metamorphoses. A 'he' is used for a man, and a lady is described 
by a gentleman as 'the fairest she he has yet beheld.' In the 
second place, every variety of apparent grammatical inaccuracy 
meets us. He for Mm, him for he; spoke and took for spoken and 
taken; plural nominatives with singular verbs; relatives omitted 
where they are now considered necessary; unnecessary antece- 
dents inserted; shall for will^ should for would, would for wish; to 
omitted after / ought, inserted after / durst; double negatives; 
double comparatives ('more better,' etc.) and superlatives; swc/i 
followed by which, that by as, as used for as if; that for so that; and 
lastly some verbs apparently with two nominatives, and others 
without any nominative at all."^DR. Abbott's Shakespearian 
Grammar. 

Shakespeare's plays are written mainly in what is known as 
blank verse; but they contain a number of riming lines, and a con- 

29 



30 INTRODUCTION 

siderable number of prose lines. As a rule, rime is much commoner 
in the earlier than in the later plays. Thus, Love's Labour's Lost 
contains nearly 1100 riming lines, while (if we except the songs) A 
Winter's Tale has none. The Merchant of Venice has 124. 

In speaking, we lay a stress on particular syllables; this stress is 
called accent. When the words of a composition are so arranged 
that the accent recurs at regular intervals, the composition is said 
to be rythmical. In blank verse the lines have usually ten syllables, 
of which the second, fourth, sixth, eighth, and tenth are accented. 
The line consists, therefore, of five parts, each of which contains 
an unaccented syllable, followed by an accented one, as in the 
word attend. Each of these five parts forms what is called a 
foot or measure; and the five together form a pentameter. Pentam- 
eter is a Greek word signifying '^five measures." This is the 
usual form of a line of blank verse. But a long poem composed 
entirely of such lines would be monotonous, and for the sake of 
variety several important modifications have been introduced. 

(a) After the tenth syllable, one or two unaccented syllables 
are sometimes added; as — 
^*Me-thought|you saidjyou nei|ther lendlnor bor|row.'' 

(5) In any foot the accent may be shifted from the second to the 
first syllable, provided two accented syllables do not come to- 
gether; as — 

'^ Pluck' the|young suck'|ling cubs'|from the'|she bear'." 

(c) In such words as yesterday, voluntary, honesty, the syllables 
•^ay, -ta-, and -ty falling in the place of the accent are, for the pur- 
poses of the verse, regarded as truly accented; as — 

"Bars' melthe right'|of vol'-|un-ta'|ry choos'|ing." 

(d) Sometimes we have a succession of accented syllables; this 
occurs with monosyllabic feet only; as — 

'Why, now, blow wind, swell billow, and swim bark," 



GRAMMAR AND VERSIFICATION 31 

(e) Sometimes, but more rarely, two or even three unaccented 
syllables occupy the place of one; as — 
''He says|he does,|6e-m^ thenjmost flat|ter-ed." 

(/) Lines may have any number of feet from one to six. 

Finally, Shakespeare adds much to the pleasing variety of his 
blank verse by placing the pauses in different parts of the line 
(especially after the second or third foot), instead of placing them 
all at the end of lines, as was the earlier custom. 

In some cases the rhythm requires that what we usually pro- 
nounce as one syllable shall be divided into two, as fi-er (fire), 
su-er (sure), mi-el (mile), etc.; too-elve (twelve), jaw-ee (joy). 
Similiarly, she-on (-tion or -sion). 

It is very important that the student should have plenty of 
ear-training by means of formal scansion. This ^\ill greatly 
assist him in his reading. 



PLAN OF STUDY 

To attain the standard of ''Perfect Possession/' the reader 
ought to have an intimate and ready knowledge of the subject. 

The student ought, first of all, to read the play as a pleasure; 
then to read it again, with his mind on the characters and the 
plot; and lastly, to read it for the meanings, grammar, etc. 

With the help of the following outline, he can easily draw up 
for himself short examination papers (1) on each scene, (2) on 
each act, (3) on the whole play. 

1. The plot and story of the play. 

(a) The general plot. 

(b) The special incidents. 

2. The characters. 

Ability to give a connected account of all that is done, and 
most that is said by each character in the play. 

3. The influence and interplay of the characters upon one an- 

other. 

(a) Relation of A to B and of B to A. 
(h) Relation of A to C and D. 

4. Complete possession of the language. 

(a) Meanings of words. 

(6) Use of old words, or of words in an old meaning. 

(c) Grammar. 

(d) AbiHty to quote lines to illustrate a grammatical point. 

5. Power to reproduce, or quote. 

(a) What was said by A or B on a particular occasic n. 
(h) What was said by A in reply to B. 

(c) What argument was used by C at a particular juncture.^ 

(d) To quote a Hile in instance of an idiom or of a pecuHar 

meaning. 

32 



PLAN OF STUDY 33 

6. Power to locate. 

(a) To attribute a line or statement to a certain person 
on a certain occasion. 

(b) To cap a line. 

(c) To fill in the right word or epithet. 



THE MERCHANT OF VENICE 



DRAMATIS PERSONS 

The Duke of Venice ^ 

The Prince of Morocco \ suitors to Portia. 

The Prince of Arragon J 

Antonio, a merchant of Venice. 

Bassanio, friend to Antonio, suitor likewise to Portia. 

Salanio ^ 

Salarino [friends to Antonio and Bassanio. 

Gratiano J 

Lorenzo, in love with Jessica. 

Shylock, a rich Jew, 

Tubal, a Jew, friend to Shylock. 

Salerio, a messenger, 

Launcelot Gobbo, a Clown^ servant to Shylock. 

Old Gobbo, father to Launcelot. 

Leonardo, servant to Bassanio. 

Balthazar 1 , , t^ .. 

^ 7 servants to Portia. 

Stephano J 

Portia, a rich heiress. 
Nerissa, waiting-maid to Portia. 
Jessica, daughter to Shylock. 

Magnificoes of Venice, Officers of the Court of Justice, Gaoler^ 
Servants to Portia, and other Attendants. 

SCENE — Partly at Venice; and partly at Belmont, the seat 
of Portia, on the Continent. 



THE MERCHANT OF VENICE 



ACT I 

Scene I 

Venice. A street 

Enter Antonio, Salarino, and Salanio 

Ant. In sooth, I know not why I am so sad: 
It wearies me; you say it wearies you; 
But how I caught it, found it, or came by it. 
What stuff 'tis made of, whereof it is born, 
I am to learn; 

And such a want-wit sadness makes of me, 
That I have much ado to know myself. 

Solar. Your mind is tossing on the ocean; 
There, where your argosies with portly sail, — 
Like signiors and rich burghers on the flood, lo 

Or, as it were, the pageants of the sea, — 
Do overpeer the petty traffickers. 
That curtsy to them, do them reverence. 
As they fly by them with their woven wings. 

Salan. Believe me, sir, had I such venture forth. 

The better part of my affections would 

Be with my hopes abroad. I should be still 

Plucking the grass, to know where sits the wind; 

37 



38 MERCHANT OF VENICE [Act I 

Peering in maps for ports and piers and roads; 
And every object that might make me fear 20 

Misfortune to my ventures, out of doubt, 
Would make me sad. 

Solar. My wind, cooling my broth, 

Would blow me to an ague, when I thought 
What harm a wind too great might do at sea. 
I should not see the sandy hour-glass run 
But I should think of shallows and of flats, 
And see my wealthy Andrew docked in sand, 
Vailing her high-top lower than her ribs 
To kiss her burial. Should I go to church 
And see the holy edifice of stone, 30 

And not bethink me straight of dangerous rocks. 
Which, touching but my gentle vessel's side, 
Would scatter all her spices on the stream, 
Enrobe the roaring waters with my silks. 
And, in a word, but even now worth this. 
And now worth nothing? Shall I have the thought 
To think on this; and shall I lack the thought 
That such a thing, bechanced, would make me sad? 
But tell not me; I know Antonio 
Is sad to think upon his merchandise. 4o 

Ant. Believe me, no; I thank my fortune for it, 
My ventures are not in one bottom trusted. 
Nor to one place; nor is my whole estate 
Upon the fortune of this present year: 
Therefore my merchandise makes me not sad. 

Solar, Why, then you are in love. 

Ant. Fie, fie! 



Scene 11 MERCHANT OF VENICE 39 

Salar, Not in love neither? Then let us say you are 
sad, 
Because you are not merry: and 'twere as easy 
For you to laugh and leap and say you are merry, 
Because you are not sad. Now, by two-headed Janus, so 
Nature hath framed strange fellows in her time: 
Some that will evermore peep through their eyes, 
And laugh, like parrots, at a bag-piper; 
And other of such vinegar aspect 
That they'll not show their teeth in w^ay of smile, 
Though Nestor swear the jest be laughable. 

Enter Bassanio, Lorenzo, and (jRatiano 

Solan. Here comes Bassanio, your most noble 
kinsman, 
Gratiano, and Lorenzo. Fare ye well: 
We leave you now with better company. 

Salar. I would have stay'd till I had made you merry,60 
If worthier friends had not prevented me. 

Ant. Your worth is very dear in my regard. 
I take it, your own business calls on you, 
And you embrace th' occasion to depart. 
Salar. Good morrow, my good lords. 
Bass. Good signiors both, when shall we laugh? 
Say, when? 
You grow exceeding strange: must it be so? 
Salar. We'll make our leisure^ to attend on yours. 
[Exeunt Salarino and Salanio 
Lor. My lord Bassanio, since you have found An- 
tonio, 



40 MERCHANT OF VENICE [Act I 

We two will leave you; but at dinner-time, 70 

I pray you, have in mind where we must meet. 

Bass, I will not fail you. 

Gra, You look not well, Signior Antonio; 
You have too much respect upon the world: 
They lose it that do buy it with much care. 
Believe me, you are marvellously changed. 

Ant I hold the world but as the world, Gratiano; 
A stage where every man must play a part, - \ 

And mine a sad one. 

Gra. Let me play the Fool: 

With mirth and laughter let old wrinkles come; so 
And let my liver rather heat with wine 
Than my heart cool with mortifying groans. 
Why should a man whose blood is warm within 
Sit like his grandsire cut in alabaster? 
Sleep when he wakes, and creep into the jaundice 
By being peevish? I tell thee what, Antonio, — 
I love thee, and it is my love that speaks, — 
There are a sort of men whose visages 
Do cream and mantle like a standing pond; 
And do a wilful stillness entertain, 90 

With purpose to be dressed in an opinion 
Of wisdom, gravity, profound conceit; 
As who should say, 'I am Sir Oracle, 
And when I ope my lips, let no dog bark!' 
O my Antonio, I do know of these 
That therefore only are reputed wise 
For saying nothing; who I am very sure. 
If they should speak, would almost damn those ears 



Scene I] MERCHANT OF VENICE 41 

Which, hearing them, would call their brothers fools. 

I'll tell thee more of this another time: loo 

But fish not, with this melancholy bait. 

For this fool-gudgeon, this opinion. 

Come, good Lorenzo. Fare ye well a while: 

I'll end my exhortation after dinner. 

Lor. Well, we will leave you, then, till dinner- 
time: 
I must be one of these same dumb wise men, 
For Gratiano never lets me speak. 

Gra. Well, keep me company but two years 
moe, 
Thou shalt not know the sound of thine own tongue. 

AnL Farewell: I'll grow a talker for this gear, no 

Gra, Thanks, i' faith; for silence is only com- 
mendable 
In a neat's tongue dried, and a maid not vendible. 
[Exeunt Gratiano and Lorenzo 

Ant. Is that any thing now? 

Bass. Gratiano speaks an infinite deal of nothing, 
more than any man in all Venice. His reasons are 
as two grains of wheat hid in two bushels of chaff: 
you shall seek all day ere you find them; and when 
you have them, they are not worth the search. 

AnL Well, tell me now, what lady is the same 
To whom you swore a secret pilgrimage, 120 

That you to-day promised to tell me of? 

Bass. Tis not unknown to you, Antonio, 
How much I have disabled mine estate. 
By something showing a more swelUng port 



42 MERCHANT OF VENICE • [Act I 

Than my faint means would grant continuance: 

Nor do I now make moan to be abridged 

From such a noble rate; but my chief care 

Is to come fairly off from the great debts 

Wherein my time, something too prodigal, 

Hath left me gaged. To you, Antonio, i3o 

I owe the most, in money and in love; 

And from your love I have a warranty 

To unburthen all my plots and purposes, 

How to get clear of all the debts I owe. 

Ant, I pray you, good Bassanio, let me know it; 
And if it stand, as you yourself still do, 
Within the eye of honour, be assured 
My purse, my person, my extremest means 
Lie all unlocked to your occasions. 

Bass, In my school-days, when I had lost one shaft, i4o 
I shot his fellow of the self-same flight 
The self-same way, with more advised watch, 
To find the other forth; and by adventuring both 
I oft found both: I urge this childhood proof. 
Because what follows is pure innocence. 
I owe you much; and, like a wilful youth. 
That which I owe is lost: but if you please 
To shoot another arrow that self way 
Which you did shoot the first, I do not doubt. 
As I will watch the aim, or to find both i50 

Or bring your latter hazard back again. 
And thankfully rest debtor for the first. 

Ant, You know me well; and herein spend but 
time 



Scene I] MERCHANT OF VENICE 43 

To wind about my love with circumstance; 

And, out of doubt, you do me now more wrong 

In making question of my uttermost 

Than if you had made w^aste of all I have. 

Then do but say to me what I should do, 

That in your knowledge may by me be done. 

And I am prest unto it: therefore speak. leo 

Bass. In Belmont is a lady richly left; 
And she is fair, and, fairer than that word. 
Of wondrous virtues: sometimes from her eyes 
I did receive fair speechless messages. 
Her name is Portia, nothing undervalued 
To Cato's daughter, Brutus' Portia. 
Nor is the wide world ignorant of her worth; 
For the four winds blow in from every coast 
Renowned suitors; and her sunny locks 
Hang on her temples like a golden fleece; 170 

Which makes her seat of Belmont Colchos' strand, 
And many Jasons come in quest of her. 

my Antonio! had I but the means 
To hold a rival place with one of them, 

1 have a mind presages me such thrift, 
That I should questionless be fortunate. 

Ant, Thou know'st that all my fortunes are at sea ; 
Neither have I money nor commodity 
To raise a present sum: therefore go forth; 
Try what my credit can in Venice do: isn 

That shall be racked, even to the uttermost, 
To furnish thee to Belmont, to fair Portia. 
Go, presently inquire, and so will I, 



44 MERCHANT OF VENICE [Act I 

Where money is; and I no question make 

To have it of my trust or for my sake. {Exeunt 



Scene II 

Belmont. A room in Portia's house 

Enter Portia and Nerissa 

Por. By my troth, Nerissa, my little body is 
aweary of this great world. 

Ner. You would be, sweet madam, if your 
miseries were in the same abundance as your good 
fortunes are: and yet, for aught I see, they are as 
sick that surfeit with too much, as they that starve 
with nothing. It is no small happiness, therefore, to 
be seated in the mean; superfluity comes sooner by 
white hairs, but competency lives longer. 

Por, Good sentences, and well pronounced. lo 

Ner. They would be better, if well followed. 

Por. If to do were as easy as to know what were 
good to do, chapels had been churches, and poor 
men's cottages princes' palaces. It is a good divine 
that follows his own instructions: I can easier teach 
twenty what were good to be done than be one of 
the twenty to follow mine own teaching. The brain 
may devise laws for the blood; but a hot temper 
leaps o'er a cold decree: such a hare is madness 
the youth, to skip o'er the meshes of good counsel 20 
the cripple. But this reasoning is not in the fashion 
to choose me a husband. O me, the word ' choose ' ! 
I may neither choose whom I would nor refuse whom 



Scene II] MERCHANT OF VENICE 45 

I dislike; so is the will of a living daughter curbed 
by the will of a dead father. Is it not hard, Nerissa, 
that I cannot choose one nor refuse none? 

Ner. Your father was ever virtuous; and holy- 
men at their death have good inspirations; there- 
fore the lottery that he hath devised in these three 
chests of gold, silver, and lead (whereof who chooses 3o 
his meaning chooses you) will, no doubt, never be 
chosen by any rightly, but one who shall rightly love. 
But what warmth is there in your affection towards 
any of these princely suitors that are already come? 

For. I pray thee, over-name them; and as thou 
namest them, I will describe them; and, according 
to my description, level at my affection. 

Ner, First, there is the Neapolitan prince. 

For, Ay, that^s a colt, indeed, for he doth nothing 
but talk of his horse; and he makes it a great ap- 4o 
propriation to his own good parts, that he can shoe 
him himself. 

Ner. Then is there the County Palatine. 

For. He doth nothing but frown; as who should 
say, ^An you will not have me, choose^* he hears 
merry tales, and smiles not: I fear he will prove the 
weeping philosopher when he grows old, being so full 
of unmannerly sadness in his youth. I had rather be 
married to a death^s-head with a bone in his mouth 
than to either of these. God defend me from these so 
two! 

Ner. How say you by the French lord, Mon- 
sieur Le Bon? 



46 MERCHANT OF VENICE [Act I 

Por. God made him, and therefore let him pass 
for a man. In truth, I know it is a sin to be a 
mocker. But he! why, he hath a horse better than 
the Neapohtan's; a better bad habit of frowning 
than the Count Palatine: he is every man in no 
man: if a throstle sing, he falls straight a-capering; 
he will fence with his own shadow: if I should marry 60 
him, I should marry twenty husbands. If he would 
despise me, I would forgive him; for, if he love 
me to madness, I shall never requite him. 

Ner. What say you, then, to Falconbridge, 
the young baron of England? 

For. You know I say nothing to him; for he 
understands not me, nor I him: he hath neither 
Latin, French, nor Italian; and you will come into 
the court and swear that I have a poor pennyworth 
in the English. He is a proper man^s picture; but 70 
alas, who can converse with a dumb-show? How 
oddly he is suited! I think he bought his doublet 
in Italy, his round hose in France, his bonnet in 
Germany, and his behaviour every where. 

Ner. What think you of the Scottish lord, his 
neighbour? 

Por. That he hath a neighbourly charity in him; 
for he borrowed a box of the ear of the Englishman, 
and swore he would pay him again when he was 
able: I think the Frenchman i^ecame his surety, and so 
sealed under for another. 

Ner, How Hke you the young German, the Duke 
of Saxony's nephew? 



Scene II] MERCHANT OF VENICE 47 

Por, Very vilely in the morning, when he is 
sober; and most vilely in the afternoon, when he 
is drunk: when he is best, he is a little worse than 
a man; and when he is worst, he is little better than 
a beast: an the worst fall that ever fell, I hope I shall 
make shift to go without him. 

Ner. If he should offer to choose, and choose 90 
the right casket, you should refuse to perform your 
father^s will, if you should refuse to accept him. 

Por, Therefore, for fear of the worst, I pray 
thee set a deep glass of Rhenish wine on the con- 
trary casket: for, if the devil be within and that 
temptation without, I know he will choose it. I 
will do any thing, Nerissa, ere I will be married 
to a sponge. 

Ner. You need not fear, lady, the having any 
of these lords: they have acquainted me with their loo 
determinations; which is, indeed, to return to 
their home and to trouble you with no more suit, 
unless you may be won by some other sort than your 
father's imposition, depending on the caskets. 

Por. If I live to be as old as Sibylla, I will die 
as chaste as Diana, unless I be obtained by the 
manner of my father's will. I am glad this parcel of 
wooers are so reasonable; for there is not one among 
them but I dote on his very absence; and I wish 
them a fair departure. no 

Ner. Do you not remember, lady, in your father's 
time, a Venetian, a scholar, and a soldier, that came 
hither in company of the Marquis of Montferrat? 



48 MERCHANT OF VENICE [Act I 

Por. Yes, yes, it was Bassanio; as I think, so was 
he called. 

Ner. True, madam: he, of all the men that ever 
my foolish eyes looked upon, was the best deserving 
a fair lady. 

Por. I remember him well; and I remember him 
worthy of thy praise. How now! what news? 120 

Enter a Serving-man 

Serv. The four strangers seek you, madam, to 
take their leave: and there is a forerunner come 
from a fifth, the Prince of Morocco; who brings 
word the prince his master will be here to- 
night. 

Por. If I could bid the fifth welcome with so 
good heart as I can bid the other four farewell, I 
should be glad of his approach: if he have the con- 
dition of a saint and the complexion of a devil, I had 
rather he should shrive me than wive me. 130 

Come, Nerissa. Sirrah, go before. 
Whiles we shut the gate upon one wooer, another 
knocks at the door. [Exeunt 

Scene III 
Venice. A public place 
Enter Bassanio and Shylock 
Shy. Three thousand ducats, — w^ell. 
Bass. Ay, sir, for three months. 
Shy. For three months, — well. 



Scene III] MERCHANT OF VENICE 49 

Bass, For the which, as I told you, Antonio shall 
be bound. 

Shy, Antonio shall become bound, — well. 

Bass, May you stead me? Will you pleasure 
me? Shall I know your answer? 

Shy, Three thousand ducats, for three months, 
and Antonio bound. lo 

Bass. Your answer to that. 

Shy. Antonio is a good man. 

Bass. Have you heard any imputation to the 
contrary? 

Shy, Ho! no, no, no, no: my meaning, in saying 
he is a good man, is to have you understand me 
that he is sufficient. Yet his means are in supposi- 
tion: he hath an argosy bound to Tripolis, another 
to the Indies; I understand, moreover, upon the 
Rialto, he hath a third at Mexico, a fourth for 20 
England; and other ventures he hath, squandered 
abroad. But ships are but boards, sailors but men: 
there be land-rats and water-rats, water-thieves 
and land-thieves; — I mean, pirates; and then there 
is the peril of waters, winds, and rocks. The man is, 
notwithstanding, sufficient. Three thousand ducats; 
— I think I may take his bond. 

Bass. Be assured you may. 

Shy. I will be assured I may; and, that I may be 
assured, I will bethink me. May I speak with An- 30 
tonio? 

Bass. If it please you to dine with us. 

Shy. Yes, to smell pork; to eat of the habitation 



50 MERCHANT OF VENICE [Act I 

which your prophet, the Nazarite, conjured the devil 
into! I will buy with you, sell with you, talk with 
you, walk with you, and so following; but I will not 
eat with you, drink with you, nor pray with you. — 
What news on the Rialto? — Who is he comes here? 

Enter Antonio 

Bass, This is signior Antonio. 

Shy. [Aside] How like a fawning publican he 40 
looks! 
I hate him for he is a Christian; 
But more for that, in low simplicity 
He lends out money gratis, and brings down 
The rate of usance here with us in Venice. 
If I can catch him once upon the hip, 
I will feed fat the ancient grudge I bear him. 
He hates our sacred nation; and he rails. 
Even there where merchants most do congregate, 
On me, my bargains, and my well-won thrift, 
Which he calls interest. Cursed be my tribe so 

If I forgive him! 

Bass. Shylock, do you hear? 

Shy. I am debating of my present store; 
And, by the near guess of my memory, 
I cannot instantly raise up the gross 
Of full three thousand ducats. What of that? 
Tubal, a wealthy Hebrew of my tribe. 
Will furnish me. But soft! how many months 
Do you desire? — [To Ant.] Rest you fair, good 
signior: 



Scene III] MERCHANT OF VENICE 51 

Your worship was the last man in our mouths. 

Ant. Shylock, albeit I neither lend nor borrow 60 
By taking nor by giving of excess, 
Yet, to supply the ripe wants of my friend, 
I'll break a custom. — [To Bass.] Is he yet possessed 
How much you would? 

Shy. Ay, ay, three thousand ducats. 

Ant. And for three months. 

Shy. I had forgot, — three months; you told me 
so. 
Well then, your bond; and, let me see — but hear you: 
Methought you said you neither lend nor borrow 
Upon advantage. 

Ant. I do never use it. 

Shy. When Jacob grazed his uncle Laban's 
sheep, — 70 

This Jacob from our holy Abram was 
(As his wise mother wrought in his behalf) 
The third possessor; ay, he was the third — 

Ant. And what of him? did he take interest? 

Shy. No, not take interest; not, as you would say. 
Directly interest: mark what Jacob did. 
When Laban and himself were compromised, 
That all the eanlings which were streaked and pied 
Should fall as Jacob's hire, 

The skilful shepherd pilled me certain wands; so 

He stuck them up before the fulsome ewes. 
Who, then conceiving, did in eaning time 
Fall parti-coloured lambs, and those were Jacob's, 
This was a way to thrive, and he wa^ blest; 



52 MERCHANT OF VENICE [Act I 

And thrift is blessing, if men steal it not. 

AnL This was a venture, sir, that Jacob served for; 
A thing not in his power to bring to pass, 
But swayed and fashioned by the hand of heaven. 
Was this inserted to make interest good? 
Or is your gold and silver ewes and rams? 90 

Shy. I cannot tell; I make it breed as fast. 
But note me, signior. 

Ant Mark you this Bassanio, 

The devil can cite Scripture for his purpose. 
An evil soul, producing holy witness, 
Is like a villain with a smiling cheek; 
A goodly apple rotten at the heart: 
O, what a goodly outside falsehood hath! 

Shy. Three thousand ducats, — 'tis a good round 
sum. 
Three months from twelve, — then, let me see; the 
rate — 

Ant. Well, Shylock, shall we be beholding to 
you? 100 

Shy. Signior Antonio, many a time and oft 
In the Rialto you have rated me 
About my moneys and my usances: 
Still have I borne it with a patient shrug; 
For sufferance is the badge of all our tribe. 
You call me misbeliever, cut-throat-dog. 
And spit upon my Jewish gaberdine. 
And all for use of that which is mine own. 
Well then, it now appears you need my help: 
Go to, then; you come to me, and you say, 110 



Scene III] MERCHANT OF VENICE 53 

'Shylock, we would have money': you say so; 

You, that did void your rheum upon my beard, 

And foot me as you spurn a stranger cur 

Over your threshold: moneys is your suit. 

What should I say to you? Should I not say, 

'Hath a dog money? Is it possible 

A cur can lend three thousand ducats?' Or 

Shall I bend low, and in a bondman's key. 

With bated breath and whispering humbleness. 

Say this, — 120 

Tair sir, you spit on me on Wednesday last; 

You spurn'd me such a day; another time 

You caird me dog; and for these courtesies 

I'll lend you thus much moneys?' 

Ant. I am as like to call thee so again, 
To spit on thee again, to spurn thee too. 
If thou wilt lend this money, lend it not 
As to thy friends; for when did friendship take 
A breed of barren metal of his friend? 
But lend it rather to thine enemy; i3o 

Who, if he break, thou mayst with better face 
Exact the penalty. 

Shy. Why, look you, how you storm! 

I would be friends with you, and have your love; 
Forget the shames that you have stain' d me with; 
Supply your present wants, and take no doit 
Of usance for my moneys, and you'll not hear 

me: 
This is kind I offer. 

Bass. This were kindness. 



54 MERCHANT OF VENICE [Act I 

Shy, This kindness will I show: 

Go with me to a notary; seal me there 
Your single bond; and, in a merry sport, i40 

If you repay me not on such a day, 
In such a place, such sum or sums as are 
Expressed in the condition, let the forfeit 
Be nominated for an equal pound 
Of your fair flesh, to be cut off and taken 
In what part of your body pleaseth me. 

Ant, Content, in faith; I'll seal to such a bond, 
And say there is much kindness in the Jew. 

Bass. You shall not seal to such a bond for 
me; 
I'll rather dwell in my necessity. iso 

Ant Why, fear not, man; I will not forfeit 
it; 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 

Shy. O Father Abram, what these Christians 
are, 
Whose own hard dealings teaches them suspect 
The thoughts of others! — Pray you, tell me this: 
If he should break his day, w^hat should I gain 
By the exaction of the forfeiture? 
A pound of man's flesh, taken from a man, leo 

Is not so estimable, profitable neither. 
As flesh of muttons, beefs, or goats. I say. 
To buy his favour, I extend this friendship; 
If he will take it, so; if not, adieu; 



56 MERCHANT OF VENICE [Act I 

And, for my love, I pray you wrong me not. 

Ant. Yes, Shylock, I will seal unto this bond. 

Shy. Then meet me forthwith at the notary ^s: 
Give him direction for this merry bond, 
And I will go and purse the ducats straight; 
See to my house, left in the fearful guard i7o 

Of an unthrifty knave; and presently 
I will be with you. {Exit 

Ant Hie thee, gentle Jew. 

The Hebrew will turn Christian; he grows kind. 

Bass. I like not fair terms and a villain^s mind. 

Ant. Come on; in this there can be no dismay; 
My ships come home a month before the day. 

[Exeunt 



ACT II 

Scene I " 
Belmont. A room in Portia^ s house 
Flourish of cornets. Enter the Prince of Morocco, 
and his Train; Portia, Nerissa, and others attending 
Mor. Mislike me not for my complexion, 
The shadowed livery of the burnished sun. 
To whom I am a neighbour, and near bred. 
Bring me the fairest creature northward born, 
Where Phoebus^ fire scarce thaws the icicles. 
And let us make incision for your love. 
To prove whose blood is reddest, his or mine. 
I tell thee, lady, this aspect of mine 
Hath feared the valiant; by my love, I swear 
The best-regarded virgins of our clime i 

Have loved it too: I would not change this hue. 
Except to steal your thoughts, my gentle queen. 

Por. In terms of choice I am not solely led 
By nice direction of a maiden^s eyes; 
Besides, the lottery of my destiny 
Bars me the right of voluntary choosing: 
But, if my father had not scanted me. 
And hedged me by his wit to yield myself 
His wife who wins me by that means I told you, 
Yourself, renownfed prince, then stood as fair 20 

As any comer I have looked on yet. 
For my affection. 

57 



58 MERCHANT OF VENICE [Act II 

Mor. Even for that I thank you; 

Therefore, I pray you, lead me to the caskets 
To try my fortune. By this scimitar 
That slew the Sophy and a Persian prince 
That won three fields of Sultan Solyman, 
I would outstare the sternest eyes that look, 
Outbrave the heart most daring on the earth, 
Pluck the young sucking cubs from the she-bear. 
Yea, mock the lion when he roars for prey, so 

To win the lady. But, alas the while! 
If Hercules and Lichas play at dice 
Which is the better man, the greater throw 
May turn by fortune from the weaker hand: 
So is Alcides beaten by his page; 
And so may I, blind fortune leading me, 
Miss that which one unworthier may attain, 
And die with grieving. 

Por. You must take your chance; 

And either not attempt to choose at all, 
Or, swear before you choose, if you choose wrong 40 
Never to speak to lady afterward 
In way of marriage; therefore be advised. 

Mor, Nor will not; come, bring me unto my 
chance. 

Por. First, forward to the temple; after dinner 
Your hazard shall be made. 

Mor, Good fortune then ! 

To make me blest or cursed^st among men. 

[Cornets, Exeunt 



Scene II] MERCHANT OF VENICE 59 

Scene II 
Venice, A street 
Enter Launcelot 
Laun. Certainly my conscience will serve me to 
run from this Jew my master. The fiend is at mine 
elbow, and tempts me, saying to me, ^Gobbo, Launce- 
lot Gobbo, good Launcelot/ or 'good Gobbo/ or 'good 
Launcelot Gobbo, use your legs, take the start, run 
away.' My conscience says, 'No; take heed, honest 
Launcelot; take heed, honest Gobbo,' or, as aforesaid, 
'honest Launcelot Gobbo; do not run; scorn running 
with thy heels.' Well, the most courageous fiend 
bids me pack: 'Via!' says the fiend; 'away!' says lo 
the fiend; 'for the heavens, rouse up a brave mind,' 
says the fiend, 'and run.' Well, my conscience, 
hanging about the neck of my heart, says very wisely 
to me, 'My honest friend Launcelot, being an honest 
man's son,'— or rather an honest woman's son; 
for, indeed, my father did something smack, some- 
thing grow to, he had a kind of taste; — well, my 
conscience says, 'Launcelot, budge not.' 'Budge,' 
says the fiend. 'Budge not,' says my conscience. 
'Conscience,' say I, 'you counsel well'; 'fiend,' say I, 20 
'you counsel well': to be ruled by my conscience I 
should stay with the Jew my master, who, God bless 
the mark, is a kind of devil; and, to run away from 
the Jew I should be ruled by the fiend, who, saving 
your reverence, is the devil himself. Certainly the 
Jew is the very devil incarnal; and in my conscience, 



60 MERCHANT OF VENICE (Act II 

my conscience is but a kind of hard conscience, 
to offer to counsel me to stay with the Jew. The 
fiend gives the more friendly counsel: I will run, 
fiend; my heels are at your commandment; I will so 
run. 

Enter Old Gobbo with a basket 

Gob. Master young man, you, I pray you, which is 
the way to Master Jew^s? 

Laun. {Aside,] O heavens, this is my true- 
begotten father! who, being more than sand-blind, 
high-gravel-blind, knows me not: I will try con- 
fusions with him. 

Gob. Master young gentleman, I pray you, which 
is the way to Master Jew's? 

Laun. Turn up on your right hand at the next 4o 
turning, but, at the next turning of all, on your left; 
marry, at the very next turning, turn of no hand, but 
turn down indirectly to the Jew's house. 

Gob. By God's sonties, 'twill be a hard way to hit. 
Can you tell me whether one Launcelot, that dwells 
with him, dwell with him or no? 

Laun. Talk you of young Master Launcelot? — 
[Aside] Mark me now; now will I raise the waters. 
— Talk you of young Master Launcelot? 

Gob. No master, sir, but a poor man's son: his 50 
father, though I say it, is an honest exceeding poor 
man, and, God be thanked, well to live. 

Laun. Well, let his father be what a' will, we talk 
of young Master Launcelot. 

Gob. Your worship's friend and Launcelot, sir. 



Scene II] MERCHANT OF VENICE 61 

Laun. But I pray you, ergoy old man, ergoy I be- 
seech you, talk you of young Master Launcelot? 

Gob. Of Launcelot, an't please your mastership. 

Laun, Ergo, Master Launcelot; talk not of Master 
Launcelot, father; for the young gentleman (accord- 6o 
ing to Fates and Destinies, and such odd sayings, the 
Sisters Three, and such branches of learning) is in- 
deed, deceased; or, as you would say in plain terms, 
gone to heaven. 

Gob. Marry, God forbid ! the boy was the very staff 
of my age, my very prop. 

Laun. [Aside] Do I look like a cudgel or a 
hovel-post, a staff or a prop? — Do you know me, 
father? 

Gob. Alack the day, I know you not, young gentle- 70 
man: but, I pray you, tell me, is my boy — God rest 
his soul! — alive or dead? 

Laun. Do you not know me, father? 

Gob. Alack, sir, I am sand-blind, I know you not. 

Laun. Nay, indeed, if you had your eyes, you 
might fail of the knowing me: it is a wise father that 
knows his own child. Well, old man, I will tell you 
news of your son: give me your blessing: truth will 
come to light; murder cannot be hid long; a man's 
son may; but, in the end, truth will out. so 

Gob. Pray you, sir, stand up; I am sure you are 
not Launcelot, my boy. 

Laun. Pray you, let's have no more fooling about 
it, but give me your blessing; I am Launcelot, your 
boy that was, your son that is, your child that shall be. 



62 MERCHANT OF. VENICE (Act II 

Gob, I cannot think you are my son. 

Laun. I know not what I shall think of that: but 
I am Launcelot, the Jew's man; and I am sure Mar- 
gery your wife is my mother. 

Gob. Her name is Margery, indeed: I'll be sworn, 90 
if thou be Launcelot, thou art mine own flesh and 
blood. Lord worshipped might he be! what a beard 
hast thou got! thou hast got more hair on thy chin 
than Dobbin my fill-horse has on his tail. 

Laun, It should seem, then, that Dobbin's tail 
grows backward; I am sure he had more hair of his 
tail than I have of my face, when I last saw him. 

Gob, Lord, how art thou changed! How dost 
thou and thy master agree? I have brought him a 
present. How 'gree you now? loo 

Laun. Well, well; but for mine own part, as I 
have set up my rest to run away, so I will not rest 
till I have run some ground. My master's a very 
Jew: give him a present! give him a halter: I am 
famished in his service; you may tell every finger 
I have with my ribs. Father, I am glad you are 
come: give me your present to one Master Bassanio, 
who, indeed, gives rare new liveries; if I serve not 
him, I will run as far as God has any ground. — O 
rare fortune! here comes the man; — to him, father; no 
for I am a Jew if I serve the Jew any longer. 

Enter Bassanio with Leonardo and 
other Followers 

Bass, You may do so; but let it be so hasted 



Scene III MERCHANT OF VENICE 63 

that supper be ready at the farthest by five of the 
clock. See these letters deHvered; put the hveries 
to making; and desire Gratiano to come anon to my 
lodging. [Exit a Servant 

Laun. To him, father. 

Gob. God bless your worship! 

Bass. Gramercy! Wouldst thou aught with 
me? 120 

Gob, Here^s my son, sir, a poor boy, — 

Laun. Not a poor boy, sir, but the rich Jew^s man; 
that would, sir, as my father shall specify, — 

Gob. He hath a great infection, sir, as one would 
say, to serve, — 

Laun. Indeed, the short and the long is, I serve 
the Jew, and have a desire, as my father shall 
specify,— 

Gob. His master and he (saving your worship's 
reverence) are scarce cater-cousins; — i30 

Laun. To be brief, the very truth is, that the Jew, 
having done me wrong, doth cause me, as my father, 
being I hope an old man, shall frutify unto 
you,— 

Gob. I have here a dish of doves that I would 
bestow upon your worship; and my suit is, — 

Laun. In very brief, the suit is impertinent to my- 
self, as your worship shall know by this honest old 
man; and, though I say it, though old man, yet, poor 
man, my father. i40 

Bass. One speak for both — What would you? 

Laun. Serve you, sir. 



64 MERCHANT OF VENICE [Act II 

Gob, That is the very defect of the matter, sir. 

Bass. I know thee well; thou hast obtained thy suit: 
Shylock thy master spoke with me this day, 
And hath preferred thee; if it be preferment 
To leave a rich Jew^s service, to become 
The follower of so poor a gentleman. 

Laun. The old proverb is very well parted be- 
tween my master Shylock and you, sir: you have i50 
the grace of God, sir, and he hath enough. 

Bass. Thou speak^st it well. — Go, father, with thy 
son. — 
Take leave of thy old master, and inquire 
My lodging out. — [to his Followers] Give him a livery 
More guarded than his fellows': see it done. 

Laun. Father, in.— I cannot get a service, no! 
I have ne'er a tongue in my head! — Well [looking 
on his palm], if any man in Italy have a fairer table 
which doth offer to swear upon a book, I shall have 
good fortune! Go to; here's a simple line of life! lec 
here's a small trifle of wives: alas, fifteen wives is 
nothing! eleven widows and nine maids is a simple 
coming-in for one man; and then to 'scape drowning 
thrice, — and to be in peril of my life with the edge of 
a feather-bed, — here are simple 'scapes! Well, if 
fortune be a woman, she's a good wench for this 
gear. — Father, come; I'll take my leave of the Jew 
in the twinkling of an eye. 

[Exeunt Launcelot and Old Gobbo 

Bass. I pray thee, good Leonardo, think on this: 



Scene 111 MERCHANT OF VENICE 65 

These things being bought and orderly bestowed, i70 
Return in haste, for I do feast to-night 
My best-esteem'd acquaintance: hie thee, go. 
Leon. My best endeavours shall be done herein. 

Enter Gratiano 

Gra, Where is your master? 

Leon. Yonder, sir, he walks. 

[Exit 

Gra. Signior Bassanio, — 

Bass. Gratiano! 

Gra. I have a suit to you. 

Bass. You have obtained it. 

Gra. You must not deny me: I must go with 
you to Belmont. 

Bass. Why, then you must. But hear thee, 
Gratiano: iso 

Thou art too wild, too rude and bold of voice,— 
Parts that become thee happily enough. 
And in such eyes as ours appear not faults; 
But where thou art not known, why, there they 

show 
Something too liberal. Pray thee, take pain 
To allay with some cold drops of modesty 
Thy skipping spirit; lest, through thy wild be- 
haviour, 
I be misc6nstrued in the place I go to. 
And lose my hopes. 

Gra. Signior Bassanio, hear me: 

If I do not put on a sober habit, i90 



66 MERCHANT OF VENICE [Act 11 

Talk with respect, and swear but now and then, 

Wear prayer-books in my pocket, look demurely; 

Nay more, while grace is saying, hood mine eyes 

Thus with my hat, and sigh and say 'amen'; 

Use all the observance of civility, 

Like one well studied in a sad ostent 

To please his grandam, — never trust me more. 

Bass, Well, we shall see your bearing. 

Gra. Nay, but I bar to-night; you shall not gage 
me 
By what we do to-night. 

Bass, No, that were pity; 200 

I would entreat you rather to put on 
Your boldest suit of mirth, for we have friends 
That purpose merriment. But fare you well; 
I have some business. 

Gra. And I must to Lorenzo and the rest; 
But we will visit you at supper-time. [Exeunt 

Scene III 
Venice, A room in Shylock^s house 
Enter Jessica and Launcelot 
Jes, I am sorry thou wilt leave my father so; 
Our house is hell, and thou, a merry devil. 
Didst rob it of some taste of tediousness. 
But fare thee well; there is a ducat for thee. 
And, Launcelot, soon at supper shalt thou see 
Lorenzo, who is thy new master's guest: 
Give him this letter; do it secretly; 



/ 



Scene III] MERCHANT OF VENICE 67 

And so farewell; I would not have my father 
See me in talk with thee. 

Laun. Adieu! — tears exhibit my tongue. Most lo 
beautiful pagan, most sweet Jew! if a Christian do 
not play the knave and get thee, I am much de- 
ceived. But adieu: these foolish drops do some- 
what drown my manly spirit: adieu! 

[Exit Launcelot 

Jes. Farewell, good Launcelot. 
Alack, what heinous sin is it in me 
To be ashamed to be my father ^s child! 
But though I am a daughter to his blood, 
I am not to his manners: O Lorenzo, 
If thou keep promise, I shall end this strife; 20 

Become a Christian and thy loving wife. [Exit 

Scene IV 
Venice, A street 
Enter Gratiano, Lorenzo, Salarino, and Salanio 
Lor, Nay, we will slink away in supper-time. 
Disguise us at my lodging, and return 
All in an hour. 
Gra, We have not made good preparation* 
Solar. We have not spoke us yet of torch-bearers. 
Salan. Tis vile unless it may be quaintly ordered; 
And better, in my mind, not undertook. 
Lor. Tis now but four o'clock; we have two 
hours 
To furnish us.^ 



68 MERCHANT OF VENICE [Act II 

Enter Launcelot with a letter 

Friend Launcelot, what's the news? 

Laun, An it shall please you to break up this, lo 
it shall seem to signify. 

Lor, I know the hand: in faith, 'tis a fair hand; 
And whiter than the paper it writ on 
Is the fair hand that writ. 

Gra. Love-news, in faith. 

Laun. By your leave, sir. 

Lor. Whither goest thou? 

Laun. Marry, sir, to bid my old master the Jew 
to sup to-night with my new master the Christian. 

Lor. Hold here, take this: — tell gentle Jessica 
I will not fail her; speak it privately; 
Go. — Gentlemen, [Exit Laun. 20 

Will you prepare you for this masque to-night? 
I am provided of a torch-bearer. 

Salar. Ay, marry, I'll be gone about it straight. 

Solan. And so will I. 

Lor. Meet me and Gratiano 

At Gratiano's lodging some hour hence. 

Salar. 'Tis good we do so. 

[Exeunt Salarino and Salanio 

Gra. Was not that letter from fair Jessica? 

Lor. I must needs tell thee all. She hath directed 
How I shall take her from her father's house; 30 

What gold and jewels she is furnish'd with; 
What page's suit she hath in readiness. 
If e'er the Jew her father come to heaven, 



Scene IV] MERCHANT OF VENICE 69 

It will be for his gentle daughter's sake; 
And never dare misfortune cross her foot, 
Unless she do it under this excuse, — 
That she is issue to a faithless Jew. 
Come, go with me; peruse this as thou goest: 
Fair Jessica shall be my torch-bearer. 

[Exeunt 

Scene V 
Venice. Before Shylock^s house 
Enter Shylock and Launcelot 
Shy. Well, thou shalt see, thy eyes shall be thy 
judge, 
The difference of old Shylock and Bassanio: — 
What, Jessica! — thou shalt not gormandize, 
As thou hast done with me; — What, Jessica! — 
And sleep and snore and rend apparel out; — 
Why, Jessica, I say! 
Laun. Why, Jessica! 

Shy. Who bids thee call? I do not bid thee call. 
Laun. Your worship was wont to tell me 1 could 
do nothing without bidding. 

Enter Jessica 

Jes. Call you? What is your will? lo 

Shy. I am bid forth to supper, Jessica; 
There are my keys. But wherefore should I go? 
I am not bid for love; they flatter me: 
But yet I'll go in hate, to feed upon 



70 MERCHANT OF VENICE [Act II 

The prodigal Christian. — Jessica, my girl, 
Look to my house. — I am right loth to go; 
There is some ill a-brewing towards my rest, 
For I did dream of money-bags to-night. 

Laun. I beseech you, sir, go; my young master 
doth expect your reproach. 20 

Shy, So do I his. 

Laun. And they have conspired together, — I will 
not say you shall see a masque; but if you do, then it 
was not for nothing that my nose fell a-bleeding on 
Black-Monday last, at six o'clock i' the morning, 
faUing out that year on Ash- Wednesday was four 
year in the afternoon. 

Shy, What! are there masques? Hear you me, 
Jessica: 
Lock up my doors; and, when you hear the drum 
And the vile squealing of the wry-neck'd fife, so 

Clamber not you up to the casements then. 
Nor thrust your head into the public street 
To gaze on Christ ain fools with varnishM faces; 
But stop my house's ears, I mean my casements; 
Let not the sound of shallow foppery enter 
My sober house. — By Jacob's staff, I swear 
I have no mind of feasting forth to-night: 
But I will go. — Go you before me, sirrah; 
Say I will come. 

Laun, I will go before, sir. — 

Mistress, look out at window, for all this; 40 

There will come a Christian by. 
Will be worth a Jewess' eye. [Exit 



Scene VI) MERCHANT OF VENICE 71 

Shy, What says that fool of Hagar's offspring; 
ha? 

Jes. His words were farewell, mistress^; nothing 
else. 

Shy, The patch is kind enough; but a huge 
feeder. 
Snail-slow in profit, and he sleeps by day 
More than the wild-cat: drones hive not with me; 
Therefore I part with him; and part with him 
To one that I would have him help to waste 
His borrowed purse. — Well, Jessica, go in; so 

Perhaps I will return immediately; 
Do as I bid you; shut doors after you: 
Fast bind, fast find, — 
A proverb never stale in thrifty mind. [Exit 

Jes. Farewell; and if my fortune be not crost, 
I have a father, you a daughter, lost. {Exit 

Scene VI 
The same. 
Enter Gratiano and Salarino, masqued 
Gra. This is the pent-house under which Lorenzo 
Desired us to make stand. 
Solar. His hour is almost past. 

Gra. And it is marvel he out-dwells his hour. 
For lovers ever run before the clock. 

Salar. O, ten times faster Venus^ pigeons fly 
To seal love's bonds new made, than they are wont 
To keep obliged faith unforfeited! 



72 MERCHANT OF VENICE [Act II 

Gra, That ever holds: who riseth from a feast 
With that keen appetite that he sits down? 
Where is the horse that doth untread again lo 

His tedious measures with the unbated fire 
That he did pace them first? All things that are, 
Are with more spirit chased than enjoyed. 
How like a younker or a prodigal 
The scarfed bark puts from her native bay, 
Hugg'd and embraced by the strumpet wind! 
How like a prodigal doth she return, 
With over- weathered ribs, and ragged sails, 
Lean, rent, and beggared by the strumpet wind! 

Solar. Here comes Lorenzo; more of this here- 
after. 20 

Enter Lorenzo 

Lor. Sweet friends, your patience for my long 
abode; 
Not I, but my affairs, have made you wait: 
When you shall please to play the thieves for wives, 
I'll watch as long for you then. — Approach; 
Here dwells my father Jew. — Ho! who's within? 

Enter Jessica, above, in boy^s clothes 

Jes. Who are you? Tell me, for more certainty. 
Albeit I'll swear that I do know your tongue. 

Lor. Lorenzo, and thy love. 

Jes. Lorenzo, certain; and my love, indeed; 
For who love I so much? and now who knows 3o 

But you, Lorenzo^ whether I am yours? 



Scene VII MERCHANT OF VENICE 73 

Lor. Heaven and thy thoughts are witness that 
thou art. 

Jes- Here, catch this casket; it is worth the 
pains. 
I am glad 'tis night, you do not look on me, 
For I am much ashamed of my exchange: 
But love is blind, and lovers cannot see 
The pretty follies that themselves commit; 
For, if they could, Cupid himself would blush 
To see me thus transformed to a boy. 

Lor. Descend, for you must be my torch-bearer. 4o 

Jes. What, must I hold a candle to my shames? 
They in themselves, good sooth, are too too light. 
Why, 'tis an office of discovery, love; 
And I should be obscured. 

Lor. So you are, sweet. 

Even in the lovely garnish of a boy. 
But come at once; 

For the close night doth play the runaway. 
And we are stayed for at Bassanio's feast. 

Jes. I will make fast the doors, and gild myself 
With some more ducats, and be with you straight, so 

[Exit above 

Gra. Now, by my hood, a Gentile and no Jew. 

Lor. Beshrew me, but I love her heartily: 
For she is wise, if I can judge of her; 
And fair she is, if that mine eyes be true; 
And true she is, as she hath proved herself; 
And therefore, like herself, wise, fair, and true, 
Shall she be placed in my constant soul 



74 MERCHANT OF VENICE [Act II 

Enter Jessica, helow 

What, art thou come? — On, gentlemen; away! 
Our masquing mates by this time for us stay. 

[Exit, with Jessica and Salarino 

Enter Antonio 

Ant, Who's there? 60 

Gra. Signior Antonio? 

Ant, Fie, fie, Gratiano! where are all the rest? 
Tis nine o'clock; our friends all stay for you. 
No masque to-night; the wind is come about; 
Bassanio presently will go aboard: 
I have sent twenty out to seek for you. 

Gra, I am glad on't; I desire no more delight 
Than to be under sail and gone to-night. 

[Exeunt 

Scene VII 
Bebnont, A room in Portia's house 

Flourish of Cornets, Enter Portia, with the Prince 
OF Morocco, and both their Trains 

Por. Go, draw aside the curtains, and discover 
The several caskets to this noble prince. — 
Now make your choice. 

Mor. The first, of gold, who this inscription 
bears: 

Who chooseth me shall gain what many men desire. 
The second, silver, which this promise carries: 

Who chooseth me shall get as much as he deserves. 



Scene VII] MERCHANT OF VENICE 15 

This third, dull lead, with warning all as blunt: 
Who chooseth me must give and hazard all he hath. 

How shall I know if I do choose the right? lo 

Por. The one of them contains my picture, 
prince; 

If you choose that, then I am yours withal. 

Mor. Some god direct my judgement! Let me see; 

I will survey the inscriptions back again. 

What says this leaden casket? 

Who chooseth me must give and hazard all he hath. 

Must give — for what? for lead? hazard for lead? 

This casket threatens: men that hazard all 

Do it in hope of fair advantages: 

A golden mind stoops not to shows of dross; 20 

I'll then nor give nor hazard aught for lead. 

What says the silver with her virgin hue? 

Who chooseth me shall get as much as he deserves. 

As much as he deserves? — Pause there, Morocco, 

And weigh thy value with an even hand: 

If thou be'st rated by thy estimation, 

Thou dost deserve enough; and yet enough 

May not extend so far as to the lady: 

And yet to be afeard of my deserving 

W^ere but a weak disabling of myself. 30 

As much as I deserve! — Why, that's the lady: 

I do in birth deserve her, and in fortunes, 

In graces, and in qualities of breeding; 

But more than these, in love I do deserve. 



76 MERCHANT OF VENICE [Act II 

What if I stray 'd no further, but chose here? — 
Let's see once more this saying graved in gold: 
Who chooseth me shall gain what many men desire. 
Why, that's the lady; all the world desires her: 
From the four corners of the earth they come 
To kiss this shrine, this mortal-breathing saint. 4o 

The Hyrcanian deserts and the vasty wilds 
Of wide Arabia are as throughfares now, 
For princes to come view fair Portia! 
The watery kingdom, whose ambitious head 
Spits in the face of heaven, is no bar 
To stop the foreign spirits; but they come, 
As o'er a brook, to see fair Portia. 
One of these three contains her heavenly picture. 
Is't like that lead contains her? 'Twere damnation 
To think so base a thought: it were too gross 50 

To rib her cerecloth in the obscure grave. 
Or shall I think in silver she's immured. 
Being ten times undervalued to tried gold? 
O sinful thought! Never so rich a gem 
Was set in worse than gold. They have in England 
A coin that bears the figure of an angel 
Stamped in gold, but that's insculped upon; 
But here an angel in a golden bed 
Lies all within. — Deliver me the key; 
Here do I choose, and thrive I as I may! 60 

Por. There, take it, prince; and, if my form lie 
there. 
Then I am yours. \He unlocks the golden casket 

Mor. hell! what have we here? 



Scene VIII] MERCHANT OF VENICE 77 

A carrion death, within whose empty eye 
There is a written scroll! I'll read the writing. 

All that glisters is not gold; 

Often have you heard that told: 

Many a man his life hath sold 

But my outside to behold: 

Gilded tombs do worms infold. 

Had you been as wise as bold, 70 

Young in limbs, in judgement old, 

Your answer had not been inscrolPd: 

Fare you well; your suit is cold. 

Cold, indeed; and labour lost: 

Then, farewell, heat; and welcome, frost! — 
Portia, adieu! I have too grieved a heart 
To take a tedious leave: thus losers part. 

{Exit, with his Train. Flourish of cornets. 

For. A gentle riddance. — Draw the curtains; 

go- 
Let all of his complexion choose me so. [Exeunt 



Scene VIII 
Venice, A street 
Enter Salarino and Salanio 
Solar. Why, man, I saw Bassanio under sail; 
With him is Gratiano gone along; 
And in their ship I am sure Lorenzo is not. 
Salan. The villain Jew with outcries raised the 
duke; 
Who went with him to search Bassanio's ship, 



78 MERCHANT OF VENICE [Act II 

Salar. He came too late, the ship was under sail: 
But there the duke was given to understand 
That in a gondola were seen together 
Lorenzo and his amorous Jessica; 

Besides, Antonio certified the duke lo 

They were not with Bassanio in his ship. 

Solan. I never heard a passion so confused, 
So strange, outrageous, and so variable, 
As the dog Jew did utter in the streets: 
*My daughter! — O my ducats! — O my daughter! 
Fled with a Christian? — O my Christian ducats! — 
Justice! the law! my ducats, and my daughter! 
A sealed bag, two sealed bags of ducats, 
Of double ducats, stolen from me by my daughter! 
And jewels; two stones, two rich and precious stones, 20 
Stolen by my daughter! — Justice! find the girl! 
She hath the stones upon her, and the ducats!' 

Salar. Why, all the boys in Venice follow him. 
Crying — ^his stones, his daughter, and his ducats/ 

Salan. Let good Antonio look he keep his day. 
Or he shall pay for this. 

Salar. Marry, well remembered. 

I reasoned with a Frenchman yesterday. 
Who told me, in the narrow seas that part 
The French and English, there miscarried 
A vessel of our country, richly fraught: 30 

I thought upon Antonio when he told me, 
And wished in silence that it were not his. 

Salan. You were best to tell Antonio what you 
hear; 



Scene 1%] MERCHANT OP VENICE 79 

Yet do not suddenly, for it may grieve him. 

Solar, A kinder gentleman treads not the earth. 
I saw Bassanio and Antonio part: 
Bassanio told him he would make some speed 
Of his return: he answered — ^Do not so, 
Slubber not business for my sake, Bassanio, 
But stay the very riping of the time; 40 

And for the Jew's bond which he hath of me. 
Let it not enter in your mind of love; 
Be merry; and employ your chief est thoughts 
To courtship, and such fair ostents of love 
As shall conveniently become you there:' 
And even there, his eye being big with tears, 
Turning his face, he put his hand behind him, 
And with affection wondrous sensible 
He wrung Bassanio's hand; and so they parted. 

Solan, I think he only loves the world for him. so 
I pray thee, let us go and find him out. 
And quicken his embraced heaviness 
With some delight or other. 

Solar. Do we so. [Exeunt 

Scene IX 
Belmont. A room in Portions house 
Enter Nerissa with a Servitor 
Ner. Quick, quick, I pray thee; draw the curtain 
straight; 
The Prince of Arragon hath ta'en his oath, 
And comes to his election presently. 



80 MERCHANT OF VENICE [Act II 

Flourish of Cornets, Enter the Prince of Arragon, 
Portia, and their Trains 

Por. Behold, there stand the caskets, noble 
prince; 
If you choose that wherein I am contained, 
Straight shall our nuptial rites be solemnized: 
But if you fail, without more speech, my lord. 
You must be gone from hence immediately. 

Ar. I am enjoined by oath to observe three things: 
First, never to unfold to any one lo 

Which casket 'twas I chose; next, if I fail 
Of the right casket, never in my life 
To woo a maid in way of marriage; 
Lastly, if I do fail in fortune of my choice. 
Immediately to leave you and be gone. 

For. To these injunctions every one doth swear 
That comes to hazard for my worthless self. 

Ar. And so have I addressed me. Fortune now 
To my heart's hope! — Gold, silver, and base lead. 

Who chooseth me must give and hazard all he hath. 20 

You shall look fairer ere I give or hazard. 
What says the golden chest? ha! let me see: 

Who chooseth me shall gain what many men desire. 

What many men desire! That many may be meant 
By the fool multitude, that choose by show, 
Not learning more than the fond eye doth teach, 
Which pries not to th'interior, but, Uke the martlet. 
Builds in the weather on the outward wall. 



Scene IX] MERCHANT OF VENICE 81 

Even in the force and road of casualty. 
I will not choose what many men desire, 3o 

Because I will not jump with common spirits, 
And rank me with the barbarous multitudes. 
Why, then to thee, thou silver treasure-house; 
Tell me once more what title thou dost bear: 
Who chooseth me shall get as much as he deserves. 

And well said too; for who shall go about 
To cozen fortune, and be honourable 
Without the stamp of merit! Let none presume 
To wear an undeserved dignity. 

O, that estates, degrees, and offices 40 

Were not derived corruptly! and that clear honour 
Were purchased by the merit of the wearer! 
How many then should cover that stand bare! 
How many be commanded that command! 
How much low peasantry would then be gleaned 
From the true seed of honour! and how much honour 
Picked from the chaff and ruin of the times, 
To be new-varnishM! Well, but to my choice: 
Who chooseth me shall get as much as he deserves. 

I will assume desert. — Give me a key for this, 50 

And instantly unlock my fortunes here. 

{He opens the silver casket 
Por. Too long a pause for that which you find 

there. 
Ar. What^s here? the portrait of a blinking idiot. 
Presenting me a schedule! I will read it. 
How much unlike art thou to Portia! 



82 MERCHANT OF VENICE [Act II 

How much unlike my hopes and my deservings! 

Who chooseth me shall get as much as he deserves. 
Did I deserve no more than a fooFs head? 
Is that my prize? are my deserts no better? 

Por. To offend and judge are distinct offices 60 

And of opposed natures. 

Ar. What is here? 

[Reads] 

The fire seven times tried this: 

Seven times tried that judgement is, 

That did never choose amiss: 

Some there be that shadows kiss; 

Such have but a shadow's bliss: 

There be fools alive, I wis, 

Silver 'd o'er; and so was this. 

Take what wife you will to bed, 

I will ever be your head: 70 

So begone: you are sped. 

Still more fool I shall appear 

By the time I linger here: 

With one fooFs head I came to woo, 

But I go away with two. 

Sweet, adieu! I'll keep my oath, 

Patiently to bear my wroth. 

{Exeunt Arragon and Train 

Por, Thus hath the candle singed the moth. 
O, these deliberate fools! when they do choose, 
They have the wisdom by their wit to lose. so 

Ner. The ancient saying is no heresy, — 
Hanging and wiving goes by destiny. 



Scene IX] MERCHANT OF VENICE 83 

For. Come, draw the curtain, Nerissa. 
Enter a Servant 

Serv. Where is my lady? 

For. Here: what would my lord? 

Serv. Madam, there is alighted at your gate 
A young Venetian, one that comes before 
To signify the approaching of his lord, 
From whom he bringeth sensible regreets; 
To wit, besides commends and courteous breath, 
Gifts of rich value. Yet I have not seen 90 

So likely an ambassador of love: 
A day in April never came so sweet. 
To show how costly summer was at hand. 
As this fore-spurrer comes before his lord. 

For. No more, I pray thee: I am half afeard 
Thou wilt say anon he is some kin to thee, 
Thou spend'st such high-day wit in praising him. 
Come, come, Nerissa; for I long to see 
Quick Cupid's post that comes so mannerly. 

Ner. Bassanio, lord Love, if thy will it be! 100 

{Exeunt 



ACT III 

Scene I 

Venice. A street 

Enter Salanio and Salarino 

Solan, Now, what news on the Rialto? 

Salar, Why, yet it hves there unchecked, that An- 
tonio hath a ship of rich lading wrecked on the narrow- 
seas, — the Goodwins, I think they call the place; a 
very dangerous flat, and fatal, where the carcasses of 
many a tall ship lie buried, as they say, if my gossip 
Report be an honest woman of her word. 

Salan. I would she were as lying a gossip in that, 
as ever knapped ginger, or made her neighbours be- 
lieve she wept for the death of a third husband. But lo 
it is true, — without any slips of prolixity, or crossing 
the plain highway of talk, — that the good Antonio, 
the honest Antonio, — O that I had a title good 
enough to keep his name company! — 

Salar. Come, the full stop. 

Salan. Ha! what say'st thou? Why, the end is, 
he hath lost a ship. 

Salar. I would it might prove the end of his losses! 

Salan. Let me say 'amen' betimes, lest the devil 
cross my prayer; for here he comes in the likeness 20 
of a Jew. 

84 



Scene I] MERCHANT OF VENICE 85 

Enter Shylock 

How now, Shylock! what news among the mer- 
chants? 

Shy. You knew, none so well, none so well as you, 
of my daughter's flight. 

Solar. That's certain. I, for my part, knew the 
tailor that made the wings she flew withal. 

Solan, And Shylock, for his own part, knew the 
bird was fledged; and then it is the complexion of 
them all to leave the dam. 30 

Shy. She is damned for it. 

Solar. That's certain, if the devil may be her 
judge. 

Shy. My own flesh and blood to rebel! 

Solon. Out upon it, old carrion! rebels it at these 
years? 

Shy. I say my daughter is my flesh and blood. 

Solar. There is more difference between thy flesh 
and hers than between jet and ivory; more between 
your bloods, than there is between red wine and 40 
Rhenish. But tell us, do you hear whether Antonio 
have had any loss at sea or no? 

Shy. There I have another bad match: a bank- 
rupt, a prodigal, who dare scarce show his head on 
the Rialto; a beggar that was used to come so smug 
upon the mart. Let him look to his bond: he was 
wont to call me usurer; let him look to his bond: he 
was wont to lend money for a Christian courtesy; 
let him look to his bond. 



86 MERCHANT OF VENICE [Act III 

Salar. Why, I am sure, if he forfeit, thou wilt so 
not take his flesh: what^s that good for? 

Shy. To bait fish withal: if it will feed nothing 
else, it will feed my revenge. He hath disgraced 
me, and hindered me half a million; laughed at 
my losses, mocked at my gains, scorned my nation, 
thwarted my bargains, cooled my friends, heated 
mine enemies; and what's his reason? I am a 
Jew. Hath not a Jew eyes? hath not a Jew hands, 
organs, dimensions, senses, affections, passions? 
fed with the same food, hurt with the same weapons, 60 
subject to the same diseases, healed by the same 
means, warmed and cooled by the same winter and 
summer, as a Christian is? If you prick us, do we 
not bleed? If you tickle us, do we not laugh? if 
you poison us, do we not die? and if you wrong us, 
shall we not revenge? If we are like you in the rest, 
we will resemble you in that. If a Jew wrong a 
Christian, what is his humility? Revenge. If a 
Christian wrong a Jew, what should his sufferance be 
by Christian example? Why, revenge. Thevillany 70 
you teach me, I will execute; and it shall go hard 
but I will better the instruction. 

Enter a Servant 

Serv. Gentlemen, my master Antonio is at his 
house, and desires to speak with you both. 
Salar. We have been up and down to seek him. 

Enter Tubal 

Solan. Here comes another of the tribe; a 



Scene I] MERCHANT OF VENICE 87 

third cannot be matched, unless the devil himself 
turn Jew. 

[Exeunt Salanio, Salarino, and Servant 

Shy, How now, Tubal! what news from Genoa? 
hast thou found my daughter? so 

Tub. I often cam.e where I did hear of her, but 
cannot find her. 

Shy. Why, there, there, there, there! a diamond 
gone, cost me two thousand ducats in Frankfort! 
The curse never fell upon our nation till now; I 
never felt it till now: two thousand ducats in that; 
and other precious, precious jewels. I would my 
daughter were dead at my foot, and the jewels in 
her ear! would she were hearsed at my foot, and 
the ducats in her coffin! No news of them? — Why, 90 
so: — and I know not what's spent in the search. 
Why, thou loss upon loss! the thief gone with so 
much, and so much to find the thief; and no satisfac- 
tion, no revenge: nor no ill luck stirring but what 
lights o' my shoulders; no sighs but o' my breathing; 
no tears but o' my shedding. 

Tub. Yes, other men have ill luck too. Antonio, 
as I heard in Genoa, — 

Shy. What, what, what? ill luck, ill luck? 

Tub. — hath an argosy cast away, coming from loo 
Tripolis. 

Shy. I thank God, I thank God! — is it true, is it 
true? 

Tub. I spoke with some of tlie sailors that es- 
caped the wreck. 



88 MERCHANT OF VENICE [Act III 

Shy. I thank thee, good Tubal: good news, good 
news! ha, ha! — here in Genoa. 

Tub. Your daughter spent in Genoa, as I heard, 
in one night fourscore ducats. 

Shy. Thou stick'st a dagger in me: I shall never no 
see my gold again. Fourscore ducats at a sitting! 
fourscore ducats! 

Tiib. There came divers of Antonio's creditors in 
my company to Venice, that swear he cannot choose 
but break. 

Shy. I am very glad of it: I'll plague him; I'll tor- 
ture him; I am glad of it. 

Tub. One of them showed me a ring that he had 
of your daughter for a monkey. 

Shy. Out upon her! Thou torturest me. Tubal: 120 
it was my turquoise: I had it of Leah when I was a 
bachelor: I would not have given it for a wilderness 
of monkeys. 

Tub. But Antonio is certainly undone. 

Shy. Nay, that's true, that's very true. Go, 
Tubal, fee me an officer, bespeak him a fortnight 
before: I will have the heart of him, if he forfeit; 
for, were he out of Venice, I can make what mer- 
chandise I will. Go, Tubal, and meet me at our 
synagogue; go, good Tubal; at our synagogue, iso 
Tubal. 

{Exeunt 



Scene II] MERCHANT OF VENICE 89 

Scene II 
Belmont, A room in Portia's house 
Enter Bassanio, Portia, Gratiano, Nerissa, and 
Attendants 

Por, I pray you, tarry: pause a day or two 
Before you hazard; for, in choosing wrong, 
I lose your company; therefore, forbear awhile. 
There^s something tells me — but it is not love — 
I would not lose you; and you know yourself 
Hate counsels not in such a quality. 
But lest you should not understand me well, — 
And yet a maiden hath no tongue but thought, — 
I would detain you here some month or two 
Before you venture for me. I could teach you lo 

How to choose right, but then I am forsworn; 
So will I never be: so may you miss me; 
But if you do, you^U make me wish a sin, 
That I had been forsworn. Beshrew your eyes, 
They have o^erlook'd me and divided me; 
One half of me is yours, the other half yours, — 
Mine own, I would say; but if mine, then yours, 
And so all yours. O, these naughty times 
Put bars between the owners and their rights! 
And so, though yours, not yours. Prove it so, 20 

Let fortune go to hell for it, not I. 
I speak too long; but 'tis to peize the time. 
To eke it and to draw it out in length, 
To stay you from election. 

Bass, Let me choose; 



90 MERCHANT OF VENICE [Act III 

For, as I am, I live upon the rack. 

Por, Upon the rack, Bassanio! then confess 
What treason there is mingled with your love. 

Bass. None but that ugly treason of mistrust, 
Which makes me fear the enjoying of my love: 
There may as well be amity and life 3o 

Tween snow and fire, as treason and my love. 

Por. Ay, but I fear you speak upon the rack. 
Where men enforced do speak any thing. 

Bass. Promise me life, and I'll confess the 
truth. 

Por. Well, then, confess and live. 

Bass. Confess and love 

Had been the very sum of my confession: 
O happy torment, when my torturer 
Doth teach me answers for deliverance! 
But let me to my fortune and the caskets. 

Por. Away, then! I am locked in one of them: 4o 
If you do love me, you will find me out. 
Nerissa and the rest, stand all aloof. 
Let music sound while he doth make his choice; 
Then, if he lose, he makes a swan-like end. 
Fading in music: that the comparison 
May stand more proper, my eye shall be the stream 
And watery death-bed for him. He may win; 
And what is music then? Then music is 
Even as the flourish when true subjects bow 
To a new-crowned monarch: such it is, so 

As are those dulcet sounds in break of day 
That creep into the dreaming bridegroom's ear 



Scene II] MERCHANT OF VENICE 91 

And summon him to marriage. Now he goes, 

With no less presence, but with much more love, 

Than young Alcides, when he did redeem 

The virgin tribute paid by howling Troy 

To the sea-monster: I stand for sacrifice; 

The rest aloof are the Dardanian wives, 

With bleared visages, come forth to view 

The issue of the exploit. Go, Hercules! 6o 

Live thou, I live. With much much more dismay 

I view the fight than thou that mak^st the fray. 

Music, whilst Bassanio comments on the caskets to 

himself 

SONG 

Tell me where is fancy bred, 

Or in the heart or in the head. 

How begot, how nourished. 
Reply, reply. 

It is engendered in the eyes, 

With gazing fed; and fancy dies 

In the cradle where it lies. 

Let us all ring fancy ^s knell; 70 

1^11 begin it, — Ding, dong, bell. 
All. Ding, dong, bell. 

Bass. So may the outward shows be least them- 
selves: 
The world is still deceived with ornament. 
In law, what plea so tainted and corrupt 
But, being seasoned with a gracious voice, 
Obscures the show of evil? In religion. 
What damn&d error, but some sober brow 



92 MERCHANT OF VENICE [Act III 

Will bless it and approve it with a text, 
Hiding the grossness with fair ornament? so 

There is no vice so simple but assumes 
Some mark of virtue on his outward parts. 
How many cowards, whose hearts are all as false 
As stairs of sand, wear yet upon their chins 
The beards of Hercules and frowning Mars, 
Who, inward searched, have livers white as milk; 
And these assume but valour's excrement 
To render them redoubted! Look on beauty. 
And you shall see 'tis purchased by the weight; 
Which therein works a miracle in nature, 90 

Making them lightest that wear most of it: 
So are those crisped snaky golden locks 
Which make such wanton gambols with the wind, 
Upon supposed fairness, often known 
To be the dowry of a second head, 
The skull that bred them in the sepulchre. 
Thus ornament is but the guiled shore 
To a most dangerous sea; the beauteous scarf 
Veiling an Indian beauty; in a word. 
The seeming truth which cunning times put on loo 

To entrap the wisest. Therefore, thou gaudy gold, 
Hard food for Midas, I will none of thee: 
Nor none of thee, thou pale and common drudge 
'Tween man and man. But thou, thou meagre lead. 
Which rather threatenest than dost promise aught. 
Thy paleness moves me more than eloquence; 
And here choose I. Joy be the consequence! 
Pot. [Aside] How all the other passions fleet to air, 



Scene II] MERCHANT OF VENICE . 93 

As doubtful thoughts and rash-embraced despair 
And shuddering fear, and green-eyed jealousy! no 

love, be moderate; allay thy ecstasy; 

In measure rain thy joy; scant this excess. 

1 feel too much thy blessing: make it less, 
For fear I surfeit! 

Bass. What find I here? 

{Opening the leaden casket 
Fair Portia's counterfeit! What demi-god 
Hath come so near creation? Move these eyes? 
Or whether, riding on the balls of mine, 
Seem they in motion? Here are severed lips, 
Parted with sugar breath: so sweet a bar 
Should sunder such sweet friends. Here in her hairs 120 
The painter plays the spider, and hath woven 
A golden mesh to entrap the hearts of men. 
Faster than gnats in cobwebs. But her eyes! — 
How could he see to do them? having made one, 
Methinks it should have power to steal both his, 
And leave itself unfurnished. Yet look, how far 
The substance of my praise doth wrong this shadow 
In underprizing it, so far this shadow 
Doth limp behind the substance. — Here^s the scroll. 
The continent and summary of my fortune. iso 

You that cnoose not by the view, 
Chance as fair, and choose as true! 
Since this fortune falls to you. 
Be content, and seek no new. 
If you be well pleased with this 
And hold your fortune for your bliss, 
Turn you where your lady is 
And claim her. with a loving kiss. 



94 MERCHANT OF VENICE [Act III 

A gentle scroll. — Fair lady, by your leave: 

[Kissing her 
I come by note, to give and to receive. i4o 

Like one of two contending in a prize, 
That thinks he hath done well in people^s eyes, 
Hearing applause and universal shout, 
Giddy in spirit, still gazing in a doubt 
Whether those peals of praise be his or no; 
So, thrice-fair lady, stand I, even so; 
As doubtful whether what I see be true, 
Until confirmed, signM, ratified by you. 

Por. You see me, lord Bassanio, where I stand. 
Such as I am: though for myself alone i5o 

I would not be ambitious in my wish. 
To wish myself much better; yet for you 
I would be trebled twenty times myself: 
A thousand times more fair, ten thousand times 
More rich; 

That, only to stand high in your account, 
I might in virtues, beauties, livings, friends. 
Exceed account: but the full sum of me 
Is sum of — something, which, to term in gross. 
Is an unlesson'd girl, unschooFd, unpractised: i6o 

Happy in this, she is not yet so old 
But she may learn; happier than this. 
She is not bred so dull but she can learn; 
Happiest of all in that her gentle spirit 
Commits itself to yours to be directed, 
As from her lord, her governor, her king. 
Myself and what is mine to you and yours 



Scene II] MERCHANT OF VENICE 95 

Is now converted: but now I was the lord 

Of this fair mansion, master of my servants, 

Queen o'er myself; and even now, but now, i7o 

This house, these servants, and this same myself 

Are yours, my lord: I give them with this ring; 

Which when you part from, lose, or give away, 

Let it presage the ruin of your love. 

And be my vantage to exclaim on you. 

Bass, Madam, you have bereft me of all words; 
Only my blood speaks to you in my veins: 
And there is such confusion in my powers 
As, after some oration fairly spoke 

By a belov&d prince, there doth appear 180 

Among the buzzing, pleased multitude; 
Where every something, being blent together, 
Turns to a wild of nothing, save of joy. 
Expressed and not expressed. But when this ring 
Parts from this finger, then parts hfe from hence; 
O, then be bold to say Bassanio's dead! 

Ner. My lord and lady, it is now our time, 
That have stood by and seen our wishes prosper. 
To cry, good joy: good joy, my lord and lady! 

Gra, My lord Bassanio and my gentle lady, i90 

I wish you all the joy that you can wish; 
For I am sure you can wish none from me: 
And when your honours mean to solemnize 
The bargain of your faith, I do beseech you 
Even at that time I may be married too. 

Bass. With all my heart, so thou canst get a 
wife. 



96 MERCHANT OF VENICE [Act III 

Gra. I thank your lordship; you have got me 
one. 
My eyes, my lord, can look as swift as yours: 
You saw the mistress, I beheld the maid; 
You loved, I loved; for intermission 200 

No more pertains to me, my lord, than you. 
Your fortune stood upon the caskets there; 
And so did mine too, as the matter falls; 
For wooing here until I sweat again, 
And swearing till my very roof was dry 
With oaths of love, at last, — if promise last, — 
I got a promise of this fair one here 
To have her love, provided that your fortune 
Achieved her mistress. 

For. Is this true, Nerissa? 

Ner, Madame, it is, so you stand pleased withal. 210 

Bass. And do you, Gratiano, mean good faith? 

Gra. Yes, faith, my lord. 

Bass. Our feast shall be much honoured in your 
marriage. 

Gra. But who comes here? Lorenzo, and his 
infidel? 
What, and my old Venetian friend, Salerio? 

Enter Lorenzo, Jessica, and Salerio 

Bass. Lorenzo and Salerio, welcome hither; 
If that the youth of my new interest here 
Have power to bid. you welcome. — By your leave, 
I bid my very friends and countrymen, 
Sweet Portia, welcome. 



Scene II] MERCHANT OF VENICE 97 

Pot. So do I, my lord; • 220 

They are entirely welcome. 

Lor, I thank your honour. — For my part, my 
lord, 
My purpose was not to have seen you here; 
But meeting with Salerio by the way, 
He did entreat me, past all saying nay, 
To come with him along. 

Salerio. I did, my lord; 

And I have reason for it. Signior Antonio 
Commends him to you. [Gives Bassanio a letter 

Bass, Ere I ope this letter, 

I pray you, tell me how my good friend doth. 

Salerio. Not sick, my lord, unless it be in mind; 230 
Nor well, unless in mind: his letter there 
Will show you his estate. 

Gra. Nerissa, cheer yon stranger; bid her wel- 
come. — 
Your hand, Salerio. What^s the news from Venice? 
How doth that royal merchant, good Antonio? 
I know he will be glad of our success; 
We are the Jasons, we have won the fleece. 

Salerio. I would you had won the fleece that he 
hath lost! 

For, There are some shrewd contents in yon 
same paper, 
That steal the colour from Bassanio's cheek: 240 

Some dear friend dead; else nothing in the world 
Could turn so much the constitution 
Of any constant man. What, worse and worse? — 



98 MERCHANT OF VENICE [Act III 

With leave, Bassanio; I am half yourself, 
And I must freely have the half of any thing 
That this same paper brings you. 

Bass. O sweet Portia, 

Here are a few of the unpleasant'st words 
That ever blotted paper! Gentle lady, 
When I did first impart my love to you, 
I freely told you, all the wealth I had 250 

Ran in my veins, — I was a gentleman; 
And then I told you true: and yet, dear lady, 
Rating myself at nothing, you shall see 
How much I was a braggart. When I told you 
My state was nothing, I should then have told you 
That I was worse than nothing; for, indeed, 
I have engaged myself to a dear friend, 
Engaged my friend to his mere enemy. 
To feed my means. Here is a letter, lady; 
The paper as the body of my friend, 260 

And every word in it a gaping wound. 
Issuing life-blood. But is it true, Salerio? 
Have all his ventures failed? What, not one hit? 
From Tripolis, from Mexico, and England, 
From Lisbon, Barbary, and India? 
And not one vessel 'scape the dreadful touch 
Of merchant-marring rocks? 

Saleria Not one, my lord. 

Besides, it should appear that, if he had 
The present money to discharge the Jew, 
He would not take it. Never did I know 270 

A creature that did bear the shape of man. 



Scene II] MERCHANT OF VENICE 99 

So keen and greedy to confound a man: 
He plies the duke at morning and at night; 
And doth impeach the freedom of the state, 
If they deny him justice: twenty merchants, 
The duke himself, and the magnificoes 
Of greatest port, have all persuaded with him; 
But none can drive him from the envious plea 
Of forfeiture, of justice, and his bond. 

Jes, When I was with him, I have heard him 
swear 28o 

To Tubal, and to Chus, his countrymen, 
That he would rather have Antonio's flesh 
Than twenty times the value of the sum 
That he did owe him; and I know, my lord, 
If law, authority, and power deny not. 
It will go hard with poor Antonio. 

Pot. Is it your dear friend that is thus in trouble? 

Bass. The dearest friend to me, the kindest man, 
The best conditioned and unwearied spirit 
In doing courtesies; and one in whom 290 

The ancient Roman honour more appears 
Than any that draws breath in Italy. 

For. What sum owes he the Jew? 

Bass. For me three thousand ducats. 

For. What, no more? 

Pay him six thousand, and deface the bond; 
Double six thousand, and then treble that. 
Before a friend of this description 
Shall lose a hair through Bassanio's fault. 
First go with me to church and call me wife, 



100 MERCHANT OF VENICE [Act III 

And then away to Venice to your friend; 300 

For never shall you lie by Portia's side 
With an unquiet soul. You shall have gold 
To pay the petty debt twenty times over; 
When it is paid, bring your true friend along. 
My maid Nerissa and myself meantime 
Will live as maids and widows. Come, away! 
For you shall hence upon your wedding-day: 
Bid your friends welcome, show a merry cheer: 
Since you are dear bought, I will love you dear. 
But let me hear the letter of your friend. s:: 

Bass, {reads'] 

Sweet Bassanio, my ships have all miscarried, my creditors 
grow cruel, my estate is very low, my bond to the Jew is forfeit; 
and since, in paying it, it is impossible I should live, all debts are 
cleared between you and I, if I might but see you at my death. 
Notwithstanding, use your pleasure: if your love do not per- 
suade you to come, let not my letter. 

Por. O love, dispatch all business, and be gone! 

Bass. Since I have your good leave to go away, 
I will make haste: but, till I come again. 
No bed shall e'er be guilty of my stay, 320 

Nor rest be interposer 'twixt us twain. {Exeunt 

Scene III 
Venice. A street 
Enter Shylock, Salarino, Antonio, and Gaoler 
Shy, Gaoler, look to him: tell not me of mercy: 
This is the fool that lends out money gratis. 
Gaoler, look to him. 



Scene III) MERCHANT OF VENICE 101 

AnL Hear me yet, good Shylock. 

Shy. I'll have my bond; speak not against my 
bond: 
I have sworn an oath that I will have my bond. 
Thou cairdst me dog before thou hadst a cause: 
But, since I am a dog, beware my fangs: 
The duke shall grant me justice. — I do wonder, 
Thou naughty gaoler, that thou art so fond 
To come abroad with him at his request. lo 

AnL I pray thee, hear me speak. 

Shy. Ill have my bond; I will not hear thee 
speak: 
111 have my bond; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool. 
To shake the head, relent, and sigh, and yield 
To Christian intercessors. Follow not; 
111 have no speaking; I will have my bond. \Exit 

Solar. It is the most impenetrable cur 
That ever kept with men. 

Ant. Let him alone: 

111 follow him no more with bootless prayers. 20 

He seeks my life; his reason well I know: 
I oft dehver'd from his forfeitures 
Many that have at times made moan to me; 
Therefore he hates me. 

Solar. I am sure the duke 

Will never grant this forfeiture to hold. 

Ant. The duke cannot deny the course of law; 
For the commodity that strangers have 
With us in Venice, if it be denied, 



102 MERCHANT OF VENICE [Act III 

Will much impeach the justice of the state; 

Since that the trade and profit of the city 30 j 

Consisteth of all nations. Therefore, go: 

These griefs and losses have so ^bated me, 

That I shall hardly spare a pound of flesh 

To-morrow to my bloody creditor. 

Well, gaoler, on. — Pray God, Bassanio come 

To see me pay his debt, and then I care not! 

[Exeunt 

Scene IV 
Belmont A room in Portia's house 
Enter Portia, Nerissa, Lorenzo, Jessica, and 
Balthazar 
Lor, Madam, although I speak it in your pres- 
ence 
You have a noble and a true conceit 
Of God-hke amity; which appears most strongly 
In bearing thus the absence of your lord. 
But, if you knew to whom you show this honour, 
How true a gentleman you send relief. 
How dear a lover of my lord your husband, 
I know you would be prouder of the work 
Than customary bounty can enforce you. 

Por, I never did repent for doing good, 10 

Nor shall not now: for in companions 
That do converse and waste the time together. 
Whose souls do bear an equal yoke of love. 
There must be needs a hke proportion 
Of lineaments, of manners, and of spirit; 



Scene IV] MERCHANT OF VENICE 103 

Which makes me think that this Antonio, 

Being the bosom lover of my lord, 

Must needs be like my lord. If it be so, 

How little is the cost I have bestow'd 

In purchasing the semblance of my soul 20 

From out the state of hellish cruelty! 

This comes too near the praising of myself; 

Therefore no more of it: hear other things. 

Lorenzo, I commit into your hands 

The husbandry and manage of my house 

Until my lord^s return: for mine own part, 

I have toward heaven breathed a secret vow 

To live in prayer and contemplation, 

Only attended by Nerissa here. 

Until her husband and my lord^s return: 30 

There is a monastery two miles off, 

And there we will abide. I do desire you 

Not to deny this imposition. 

The which my love and some necessity 

Now lays upon you. 

Lor. Madame, with all my heart, 

I shall obey you in all fair commands. 

Por. My people do already know my mind. 
And will acknowledge you and Jessica 
In place of lord Bassanio and myself. 
So fare you well till we shall meet again. 40 

Lor. Fair thoughts and happy hours attend on you ! 

Jes. I wish your ladyship all heart's content. 

Por. I thank you for your wish, and am well 
pleased 



104 MERCHANT OF VENICE [Act HI 

To wish it back on you: fare you well, Jessica. 
[Exeunt Jessica and Lorenzo 
Now, Balthazar, 

As I have ever found thee honest-true, 
So let me find thee still. Take this same letter, 
And use thou all the endeavour of a man 
In speed to Padua; see thou render this 
Into my cousin's hand, Doctor Bellario; 50 

And, look, what notes and garments he doth give 

thee. 
Bring them, I pray thee, with imagined speed 
Unto the tranect, to the common ferry 
Which trades to Venice. Waste no time in words, 
But get thee gone; I shall be there before thee. 

Balth. Madam, I go with all convenient speed. 

[Exit 

For, Come on, Nerissa; I have work in hand 
That you yet know not of: we'll see our husbands 
Before they think of us. 

Ner. Shall they see us? 

For. They shall, Nerissa; but in such a habit 63 
That they shall think we are accomplished 
With that we lack. I'll hold thee any wager. 
When we are both accoutred like young men, 
I'll prove the prettier fellow of the two. 
And wear my dagger with the braver grace; 
And speak, between the change of man and boy, 
With a reed voice; and turn two mincing steps 
Into a manly stride; and speak of frays. 
Like a fine-bragging youth; and tell quaint lies^ 



Scene V] MERCHANT OF VENICE 105 

How honourable ladies sought my love, 70 

Which I denying, they fell sick and died; 

I could not do withal: then I'll repent, 

And wish, for all that, that I had not kilFd them; 

And twenty of these puny lies I'll tell. 

That men shall swear IVe discontinued school 

Above a twelvemonth: — I have within my mind 

A thousand raw tricks of these bragging Jacks, 

Which I will practise. 

But come, I'll tell thee all my whole device 

When I am in my coach, which stays for us so 

At the park gate; and therefore haste away, 

For we must measure twenty miles to-day. [Exeunt 

Scene V 

The same, A garden 

Enter Launcelot and Jessica 

Laun. Yes, truly; for, look you, the sins of the 
father are to be laid upon the children: therefore, I 
promise you, I fear you. I was always plain with 
you, and so now I speak my agitation of the matter: 
therefore be of good cheer; for, truly, I think you 
are damned. There is but one hope in it that can do 
you any good; and that is but a kind of bastard 
hope neither. 

Jes, And what hope is that, I pray thee? 

Laun, Marry, you may partly hope that you are 10 
not the Jew's daughter. 

Jes. That were a kind of bastard hope, indeed: 



106 MERCHANT OF VENICE [Act III 

so the sins of my mother should be visited upon 
me. 

Laun. Truly then I fear you are damned both by 
father and mother: thus when I shun Scylla, your 
father, I fall into Charybdis, your mother; well, you 
are gone both ways. 

Jes, I shall be saved by my husband; he hath 
made me a Christian. 20 

Laun, Truly, the more to blame he: we were 
Christians enow before; e'en as many as could well 
live, one by another. This making of Christians will 
raise the price of hogs; if we grow all to be pork- 
eaters, we shall not shortly have a rasher on the coals 
for money. 

Enter Lorenzo 

Jes. I'll tell my husband, Launcelot, what you say; 
here he comes. 

Lor. I shall grow jealous of you shortly, Launce- 
lot, if you thus get my wife into corners. 30 

Jes. Nay, you need not fear us, Lorenzo. Laun- 
celot and I are out: he tells me flatly, there is no 
mercy for me in heaven, because I am a Jew's daugh- 
ter: and he says you are no good member of the com- 
monwealth; for, in converting Jews to Christians, 
you raise the price of pork. 

Lor. I think the best grace of wit will shortly turn 
into silence, and discourse grow commendable in 
none only but parrots. — Go in, sirrah; bid them pre- 
pare for dinner. 40 



Scene V] MERCHANT OF VENICE 107 

Laun. That is done, sir; they have all stomachs. 

Lor. Goodly Lord, what a wit-snapper are you! 
then bid them prepare dinner. 

Laun. That is done, too, sir; only ^cover^ is the 
word. 

Lor. Will you cover, then, sir? 

Laun. Not so, sir, neither; I know my duty. 

Lor. Yet more quarrelling with occasion! Wilt 
thou show the whole wealth of thy wit in an instant? 
I pray thee, understand a plain man in his plain 50 
meaning: go to thy fellows; bid them cover the table, 
serve in the meat, and we will come in to dinner. 

Laun. For the table, sir, it shall be served in; for 
the meat, sir, it shall be covered; for your coming in 
to dinner, sir, why, let it be as humours and conceits 
shall govern. [Exit 

Lor. O dear discretion, how his words are suited! 
The fool hath planted in his memory 
An army of good words; and I do know 
A many fools, that stand in better place, 60 

Garnished like him, that for a tricksy word 
Defy the matter. — How cheer^st thou, Jessica? 
And now, good sweet, say thy opinion: 
How dost thou like the lord Bassanio's wife? 

Jes. Past all expressing. It is very meet 
The lord Bassanio live an upright life; 
For, having such a blessing in his lady. 
He finds the joys of heaven here on earth; 
And if on earth he do not mean it, then 
In reason he should never come to heaven. 7o 



108 MERCHANT OF VENICE [Act III 

Why, if two gods should play some heavenly match, 
And on the wager lay two earthly women, 
And Portia one, there must be something else 
Pawned with the other; for the poor rude world 
Hath not her fellow. 

Lor. Even such a husband 

Hast thou of me, as she is for a wife. 

Jes. Nay, but ask my opinion too of that. 

Lor. I will anon; first, let us go to dinner. 

Jes. Nay, let me praise you while I have a 
stomach. 

Lor. No, pray thee, let it serve for table-talk; so 
Then, howsoever thou speak'st, 'mong other things 
I shall digest it. 

Jes. Well, I'll set you forth. {Exeunt 



ACT IV 

Scene I 

Venice, A court of justice 

Enter the Duke, the Magnificoes, Antonio, Bassanio, 

Gratiano, Salarino, Salerio, and others 

Duke. What, is Antonio here? 

Ant. Ready, so please your grace. 

Duke. I am sorry for thee ; thou art come to answer 
A stony adversary, an inhuman wretch 
Uncapable of pity, void and empty 
From any dram of mercy. 

Ant. I have heard 

Your grace hath ta'en great pains to quahfy 
His rigorous course; but since he stands obdurate, 
And that no lawful means can carry me 
Out of his envy's reach, I do oppose lo 

My patience to his fury; and am arm'd 
To suffer, with a quietness of spirit. 
The very tyranny and rage of his. 

Duke. Go one, and call the Jew into the court. 

Salerio. He is ready at the door: he comes, my 
lord. 

Enter Shylock 

Duke. Make room, and let him stand before our 
face, — 

109 



110 MERCHANT OF VENICE [Act IV 

Shylock, the world thinks, and I think so too, 
That thou but lead^st this fashion of thy malice 
To the last hour of act; and then ^tis thought 
Thou^lt show thy mercy and remorse, more strange 20 
Than is thy strange apparent cruelty; 
And where thou now exact'st the penalty, 
Which is a pound of this poor merchant's flesh, 
Thou wilt not only loose the forfeiture. 
But, touch'd with human gentleness and love, 
Forgive a moiety of the principal; 
Glancing an eye of pity on his losses. 
That have of late so huddled on his back, 
Enough to press a royal merchant down 
And pluck commiseration of his state 30 

From brassy bosoms and rough hearts of flint. 
From stubborn Turks and Tartars, never trained 
To offices of tender courtesy. 
We all expect a gentle answer, Jew. 
Shy, I have possessed your grace of what I 
purpose; 
And by our holy Sabbath have I sworn 
To have the due and forfeit of my bond: 
If you deny it, let the danger Ught 
Upon your charter and your city's freedom. 
You'll ask me, why I rather choose to have 40 

A weight of carrion flesh than to receive 
Three thousand ducats: I'll not answer that: 
But say it is my humour: is it answer'd? 
What if my house be troubled with a rat. 
And I be pleased to give ten thousand ducats 



Scene I] MERCHANT OF VENICE 111 

To have it baned? What, are you answered yet? 

Some men there are love not a gaping pig; 

Some, that are mad if they behold a cat; 

Some, when they hear the bagpipe: for affection. 

Mistress of passion, sways it to the mood so 

Of what it likes or loathes. Now, for your answer: 

As there is no firm reason to be rendered, 

Why he cannot abide a gaping pig; 

Why he, a harmless necessary cat; 

Why he, a wauling bagpipe; but of force 

Must yield to such inevitable shame 

As to offend, himself being offended; 

So can I give no reason, nor I will not, 

More than a lodged hate and a certain loathing 

I bear Antonio, that I follow thus 60 

A losing suit against him. Are you answered? 

Bass. This is no answer, thou unfeehng man, 
To excuse the current of thy cruelty. 

Shy, I am not bound to please thee with my 
answer. 

Bass. Do all men kill the things they do not love? 

Shy. Hates any man the thing he would not kill? 

Bass. Every offence is not a hate at first. 

Shy. What, wouldst thou have a serpent sting 
thee twice? 

Ant. I pray you, think you question with the 
Jew: 
You may as well go stand upon the beach, 70 

And bid the main flood bate his usual height; 
You may as well use question with the wolf 



112 MERCHANT OF VENICE [Act IV, 

Why he hath made the ewe bleat for the lamb; 

You may as well forbid the mountain pines 

To wag their high tops, and to make no noise 

When they are fretten with the gusts of heaven; 

You may as well do any thing most hard, 

As seek to soften that (than which what's harder?) 

His Jewish heart: therefore, I do beseech you, 

Make no more offers, use no further means; so 

But with all brief and plain conveniency, 

Let me have judgement and the Jew his will. 

Bass. For thy three thousand ducats here is six. 

Shy, If every ducat in six thousand ducats 
Were in six parts and every part a ducat, 
I would not draw them; I would have my bond. 

Duke, How shalt thou hope for mercy, rendering 
none? 

Shy, What judgement shall I dread, doing no 
wrong? 
You have among you many a purchased slave. 
Which, like your asses and your dogs and mules, 90 
You use in abject and in slavish parts. 
Because you bought them. Shall I say to you. 
Let them be free, marry them to your heirs? 
Why sweat they under burthens? let their beds 
Be made as soft as yours, and let their palates 
Be seasoned with such viands? You will answer, 
'The slaves are ours^ so do I answer you: 
The pound of flesh which I demand of him 
Is dearly bought; 'tis mine, and I will have it: 
If you deny me, fie upon your law! lOO 



Scene I] MERCHANT OF VENICE 113 

There is no force in the decrees of Venice: 

I stand for judgement: answer, shall I have it? 

Duke. Upon my power I may dismiss this court, 
Unless Bellario, a learned doctor, 
Whom I have sent for to determine this, 
Come here to-day. 

Salerio. My lord, here stays without 

A messenger with letters from the doctor, 
New come from Padua. 

Duke, Bring us the letters; call the messenger. 

Bass. Good cheer, Antonio! What, man! courage 
yet! 110 

The Jew shall have my flesh, blood, bones, and all, 
Ere thou shalt lose for me one drop of blood. 

Ant I am a tainted wether of the flock, 
Meetest for death: the weakest kind of fruit 
Drops earliest to the ground; and so let me: 
You cannot better be employ^, Bassanio, 
Than to live still and write mine epitaph. 

Enter Nerissa, dressed like a lawyer^s clerk 

Duke. Came you from Padua, from Bellario? 

Ner. From both, my lord: Bellario greets your 
grace. [Presenting a letter 

Bass. Why dost thou whet thy knife so earnestly? 120 

Shy. To cut the forfeit from that bankrupt there. 

Gra. Not on thy sole, but on thy soul, harsh Jew, 
Thou mak'st thy knife keen; but no metal can, 
No, not the hangman's axe, bear half the keenness 
Of thy sharp envy. Can no prayers pierce thee? 



114 MERCHANT OF VENICE [Act IV 

Shy. No, none that thou hast wit enough to 
make. 

Gra. O, be thou damned, inexorable dog! 
And for thy Hfe let justice be accused. 
Thou almost mak^st me waver in my faith, 
To hold opinion with Pythagoras, lao 

That souls of animals infuse themselves 
Into the trunks of men: thy currish spirit 
Governed a wolf, who, hang'd for human slaughter, 
Even from the gallows did his fell soul fleet, 
And, whilst thou lay^st in thy unhallow'd dam. 
Infused itself in thee; for thy desires 
Are wolfish, bloody, starvM, and ravenous. 

Shy, Till thou canst rail the seal from off my 
bond, 
Thou but offend'st thy lungs to speak so loud: 
Repair thy wit, good youth, or it will fall i4o 

To cureless ruin. I stand here for law. 

Duke. This letter from Bellario doth commend 
A young and learned doctor to our court. 
Where is he? 

Ner. He attendeth here hard by. 

To know your answer, whether you'll admit him. 

Duke. With all my heart. Some three or four 
of you 
Go give him courteous conduct to this place. 
Meantime the court shall hear Bellario's letter. 

Clerk [reads]. 

Your grace shall understand that at the receipt of your letter 
I am very sick; but in the instant that your messenger came, 150 



Scene I] MERCHANT OF VENICE 115 

in loving visitation was with me a young doctor of Rome; his 
name is Balthazar. I acquainted him with the cause in con- 
troversy between the Jew and Antonio the merchant: we turned 
o'er many books together: he is furnished with my opinion; 
which, bettered with his own learning (the greatness whereof 
I cannot enough commend), comes with him, at my importu- 
nity, to fill up your grace's request in my stead. I beseech you, 
let his lack of years be no impediment to let him lack a reverend 
estimation; for I never knew so young a body with so old a 
head. I leave him to your gracious acceptance, whose trial 160 
shall better publish his commendation. 

Duke. You hear the learned Bellario, what he 
writes: 
And here, I take it, is the doctor come. — 

Enter Portia, dressed like a doctor of laws 

Give me your hand. Come you from old Bellario? 

Por. I did, my lord. 

Duke. You are welcome: take your place. 

Are you acquainted with the difference 
That holds this present question in the court? 

Por. I am informed thoroughly of the cause. 
Which is the merchant here, and which the Jew? 

Duke. Antonio and old Shylock, both stand forth. i7o 

Por. Is your name Shylock? 

Shy. Shylock is my name. 

Por. Of a strange nature is the suit you follow; 
Yet in such rule that the Venetian law 
Cannot impugn you, as you do proceed. — 
[To Antonio] You stand within his d9<nger, do you 
not? 



Scene!] MERCHANT OP VENICE 117 

Ant Ay, so he says. 

For. Do you confess the bond? 

Ant I do. 

Por. Then must the Jew be merciful. 

Shy. On what compulsion must I? tell me that. 

Por. The quality of mercy is not strained; 
It droppeth as the gentle rain from heaven i8o 

Upon the place beneath: it is twice blessed; 
It blesseth him that gives, and him that takes: 
Tis mightiest in the mightiest; it becomes 
The throned monarch better than his crown; 
His sceptre shows the force of temporal power, 
The attribute to awe and majesty. 
Wherein doth sit the dread and fear of kings; 
But mercy is above this sceptred sway; 
It is enthroned in the hearts of kings. 
It is an attribute to God himself; 190 

And earthly power doth then show likest God^s 
When mercy seasons justice. Therefore, Jew, 
Though justice be thy plea, consider this,— 
That in the course of justice none of us 
Should see salvation: we do pray for mercy; 
And that same prayer doth teach us all to render 
The deeds of mercy. I have spoke thus much 
To mitigate the justice of thy plea; 
Which if thou follow, this strict court of Venice 
Must needs give sentence Against the merchant there. 200 

Shy. My deeds upon my head! I crave the law. 
The penalty and forfeit of my bond. 

Por. Is he not able to discharge the money? 



118 MERCHANT OF VENICE [Act IV 

Bass. Yes, here I tender it for him in the court; 
Yea, twice the sum: if that will not suffice, 
I will be bound to pay it ten times o'er, 
On forfeit of my hands, my head, my heart: 
If this will not suffice, it must appear 
That malice bears down truth. And I beseech you, 
Wrest once the law to your authority: 210 

To do a great right do a little wrong, 
And curb this cruel devil of his will. 

Por. It must not be; there is no power in Venice 
Can alter a decree established: 
Twill be recorded for a precedent; 
And many an error by the same example 
Will rush into the state. It cannot be. 

Shy, A Daniel come to judgement! yea, a Daniel! 
O wise young judge, how do I honour thee! 

Por, I pray you, let me look upon the bond. 220 

Shy, Here 'tis, most reverend doctor; here it is. 

Por, Shylock, there's thrice thy money offer'd 
thee. 

Shy, An oath, an oath, I have an oath in heaven: 
Shall I lay perjury upon my soul? 
No, not for Venice. 

Por, Why, this bond is forfeit; 

And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 
Nearest the merchant's heart. — Be merciful; 
Take thrice thy money; bid me tear the bond. 

Shy, When it is paid according to the tenour. 230 
It doth appear you are a worthy judge; 



r 



Scene I] MERCHANT OF VENICE 119 

You know the law, your exposition 

Hath been most sound: I charge you by the law, 

Whereof you are a well-deserving pillar, 

Proceed to judgement. By my soul I swear 

There is no power in the tongue of man 

To alter me: I stay here on my bond. 

Ant Most heartily I do beseech the court 
To give the judgement. 

For. Why, then, thus it is: 

You must prepare your bosom for his knife. 240 

Shy. O noble judge! O excellent young man! 

For. For the intent and purpose of the law 
Hath full relation to the penalty 
Which here appeareth due upon the bond. 

Shy. Tis very true: O wise and upright judge! 
How much more elder art thou than thy looks! 

For. Therefore lay bare your bosom. 

Shy. Ay, his breast: 

So says the bond: — doth it not, noble judge? — 
Nearest his heart: those are the very words. 

For. It is so. Are there balance here to weigh 230 
the flesh? 

Shy. I have them ready. 

For. Have by some surgeon, Shylock, on your 
charge. 
To stop his wounds, lest he do bleed to death. 

Shy, Is it so nominated in the bond? 

For. It is not so expressed; but what of that? 
Twere good you do so much for charity. 

Shy. I cannot find it; 'tis not in the bond. 



120 MERCHANT OF VENICE [act IV 



Por, Come, merchant, have you any thing to say? 

Ant. But httle; I^m arm'd and well prepared. — 
Give me your hand, Bassanio: fare you well! 26o 

Grieve not that I am fallen to this for you; 
For herein fortune shows herself more kind 
Than is her custom: it is still her use 
To let the wretched man outlive his wealth, 
To view with hollow eye and wrinkled brow 
An age of poverty; from which lingering penance 
Of such misery doth she cut me off. 
Commend me to your honourable wife: 
Tell her the process of Antonio's end; 
Say how I loved you, speak me fair in death; 270 

And, when the tale is told, bid her be judge 
Whether Bassanio had not once a love. 
Repent not you that you shall lose your friend, 
And he repents not that he pays your debt; 
For if the Jew do cut but deep enough 
I'll pay it instantly with all my heart. 

Bass, Antonio, I am married to a wife 
Which is as dear to me as life itself; 
But life itself, my wife, and all the world 
Are not with me esteemed above thy life; 280 

I would lose all, ay, sacrifice them all 
Here to this devil to deliver you. 

Por. Your wife would give you little thanks for that, 
If she were by, to hear you make the offer. 

Gra. I have a wife whom I protest, I love; 
I would she were in heaven, so she could 
Entreat some power to change this currish Jew. 



1 



Scene I] MERCHANT OF VENICE 121 

Ner. Tis well you offer it behind her back; 
The wish would make else an unquiet house. 

Shy. [Aside] These be the Christian husbands. 290 
I have a daughters- 
Would any of the stock of Barrabas 
Had been her husband rather than a Christian! — 
We trifle time; I pray thee, ptirsue sentence. 

For. A pound of that same merchant's flesh is 
thine; 
The court awards it, and the law doth give it. 

Shy. Most rightful judge! 

For. And you must cut this flesh from off his 
breast; 
The law allows it, and the court awards it 

Shy. Most learned judge! A sentence! Come, 
prepare. 

For. Tarry a little; there is something else. 300 

This bond doth give thee here no jot of blood; 
The words expressly are 'a pound of flesh': 
Take then thy bond, take thou thy pound of flesh; 
But, in the cutting of it, if thou dost shed 
One drop of Christian blood, thy lands and goods 
Are, by the laws of Venice, confiscate 
Unto the state of Venice. 

Gra. O upright judge! Mark, Jew: O learned 
judge! 

Shy, Is that the law? 

For. Thyself shall see the act: 

For, as thou urgest justice, be assured 310 

Thou shalt have justice, more than thou desirest, 



122 MERCHANT OF VENICE [Act iv 

Gra, O learned judge! Mark, Jew: a learned 
judge! 

Shy. I take this offer, then; — pay the bond thrice, 
And let the Christian go. 

Bass, Here is the money. 

For, Soft! 
The Jew shall have all justice; soft! no haste: 
He shall have nothing but the penalty. 

Gra. O Jew! an upright judge, a learned judge! 

Por. Therefore prepare thee to cut off the 
flesh. 
Shed thou no blood; nor cut thou less nor more 320 

But just a pound of flesh: if thou tak'st more 
Or less than a just pound, — be it but so much 
As makes it light or heavy in the substance. 
Or the division of the twentieth part 
Of one poor scruple, nay, if the scale do turn 
But in the estimation of a hair, — 
Thou diest, and all thy goods are confiscate. 

Gra, A second Daniel, a Daniel, Jew! 
Now, infidel, I have thee on the hip. 

Por. Why doth the Jew pause? take thy forfei- 
ture. 330 

Shy, Give me my principal, and let me go. 

Bass. I have it ready for thee; here it is. 

Por. He hath refused it in the open court; 
He shall have merely justice and his bond. 

Gra, A Daniel, still say I; a second Daniel! — 
I thank thee, Jew, for teaching me that word. 

Shy, Shall I not have barely my principal? 



Scene I] MERCHANT OF VENICE 123 

For. Thou shalt have nothing but the forfeiture, 
To be so taken at thy peril, Jew. 

Shy, Why, then the devil give him good of it! 34o 
I'll stay no longer question. 

Por. Tarry, Jew: 

The law hath yet another hold on you. 
It is enacted in the laws of Venice, 
If it be proved against an alien 
That by direct or indirect attempts 
He seek the life of any citizen, 
The party 'gainst the which he doth contrive 
Shall seize one half his goods; the other half 
Comes to the privy coffer of the state; 
And the offender's life lies in the mercy 350 

Of the duke only, 'gainst all other voice. 
In which predicament, I say, thou stand'st; 
For it appears, by manifest proceeding. 
That indirectly and directly too 
Thou hast contrived against the very life 
Of the defendant; and thou hast incurr'd 
The danger formerly by me rehearsed. 
Down, therefore, and beg mercy of the duke. 

Gra. Beg that thou mayst have leave to hang 
thyself: 
And yet, thy wealth being forfeit to the state, 36o 

Thou hast not left the value of a cord; 
Therefore thou must be hang'd at the state's charge. 

Duke, That thou shalt see the difference of our 
spirits, 
I pardon thee thy life before thou ask it: 



124 MERCHANT OF VENICE [Act IV 

For half thy wealth, it is Antonio's; 

The other half comes to the general state, 

Which humbleness may drive unto a fine. 

Por. Ay, for the state; not for Antonio. 

Shy. Nay, take my life and all; pardon not that: 
You take my house when you do take the prop 37o 

That doth sustain my house; you take my life 
When you do take the means whereby I live. 

Por. What mercy can you render him, Antonio? 

Gra. A halter gratis; nothing else, for God's 
sake. 

Ant. So please my lord the duke and all the court 
To quit the fine for one half of his goods, 
I am content; so he will let me have 
The other half in use, to render it. 
Upon his death, unto the gentleman 
That lately stole his daughter; 38o 

Two things provided more, — that, for this favour, 
He presently become a Christian; 
The other, that he do record a gift. 
Here in the court, of all he dies possessed. 
Unto his son Lorenzo and his daughter. 

Duke. He shall do this; or else I do recant 
The pardon that I late pronounced here. 

Por. Art thou contented, Jew? what dost thou say? . 

Shy. I am content. 

Por. Clerk, draw a deed of gift. 

Shy. I pray you, give me leave to go from hence: 390 
I am not well; send the deed after me 
And I will sign it. 



Scene I] MERCHANT OF VENICE 125 

Duke. Get thee gone, but do it. 

Gra. In christening, thou shalt have two god- 
fathers; 
Had I been judge, thou shouldst have had ten more. 
To bring thee to the gallows, not the font. 

[Exit Shylock 

Duke. Sir, I entreat you with me home to dinner. 

For. I humbly do desire your grace of pardon: 
I must away this night toward Padua, 
And it is meet I presently set forth. 

Duke. I am sorry that your leisure serves you 
not. — 400 

Antonio, gratify this gentleman; 
For, in my mind, you are much bound to him. 

[Exeunt Duke and his Train 

Bass. Most worthy gentleman, I and my friend 
Have by your wisdom been this day acquitted 
Of grievous penalties; in lieu whereof, 
Three thousand ducats, due unto the Jew, 
We freely cope your courteous pains withal. 

Ant. And stand indebted, over and above, 
In love and service to you evermore. 

For. He is well paid that is well satisfied: 4io 

And I, delivering you, am satisfied, 
And therein do account myself well paid; 
My mind was never yet more mercenary. 
I pray you, know me when we meet again; 
I wish you well, and so I take my leave. 

Bass. Dear sir, of force I must attempt you 
further; 



126 MERCHANT OF VENICE [Act IV 

Take some remembrance of us, as a tribute, 
Not as a fee: grant me two things, I pray you, 
Not to deny me, and to pardon me. 

Por. You press me far, and therefore I will yield. — 420 
[To Ant.] Give me your gloves, I'll wear them for 

your sake; — 
[To Bass.] And, for your love, I'll take this ring 

from you: 
Do not draw back your hand; I'll take no more; 
And you in love shall not deny me this. 

Bass. This ring, good sir, — alas, it is a trifle; 
I will not shame myself to give you this. 

For. I will have nothing else but only this; 
And now methinks I have a mind to it. 

Bass. There's more depends on this than on the 
value. 
The dearest ring in Venice will I give you, 430 

And find it out by proclamation; 
Only for this, I pray you, pardon me. 

For. I see, sir, you are liberal in offers: 
You taught me first to beg; and now methinks 
You teach me how a beggar should be answer'd. 

Bass. Good sir, this ring was given me by my 
wife; 
And when she put it on, she made me vow 
That I should neither sell nor give nor lose it. 

For. That 'scuse serves many men to save their 
gifts. 
An if your wife be not a mad-woman 440 

And know how well I have deserved this ring, 



Scene II] MERCHANT OF VENICE 127 

She would not hold out enemy forever 

For giving it to me. Well, peace be with you! 

{Exeunt Portia and Nerissa 

Ant. My lord Bassanio, let him have the ring; 
Let his deservings and my love withal 
Be valued 'gainst your wife's commandment. 

Bass. Go, Gratiano, run and overtake him; 
Give him the ring; and bring him, if thou canst, 
Unto Antonio's house: away! make haste. — 

[Exit Gratiano 
Come, you and I will hither presently; 450 

And in the morning early will we both 
Fly toward Belmont: come, Antonio. [Exeunt 

Scene II 
Venice. A street 
Enter Portia and Nerissa 
Por. Inquire the Jew's house out, give him this 
deed 
And let him sign it; we'll away to-night 
And be a day before our husbands home. 
This deed will be well welcome to Lorenzo. 

Enter Gratiano 

Gra. Fair sir, you are well o'erta'en: 
My Lord Bassanio upon more advice 
Hath sent you here this ring, and doth entreat 
Your company at dinner. 

Por. That cannot be: 



128 MERCHANT OF VENICE [Act IV 

His ring I do accept most thankfully; 
And so, I pray you, tell him: furthermore, lo 

I pray you, show my youth old Shylock's house. 
Gra. That will I do. 

Ner, Sir, I would speak with you. — 

[Aside to Portia] 1^11 see if I can get my husband's 

ring. 
Which I did make him swear to keep forever. 
Pot. {Aside to Nerissa] Thou mayst, I warrant 
We shall have old swearing 
That they did give the rings away to men; 
But we'll outface them, and outswear them too. — 
{Aloudl Away! make haste; thou know'st where I 
will tarry. 
Ner. Come, good sir; will you show me to this 
house? [Exeunt 20 



ACT V 

Scene I 

Belmont. Avenue to Portia's house 

Enter Lorenzo and Jessica 

Lor. The moon shines bright: in such a night 
as this, 
When the sweet wind did gently kiss the trees, 
And they did make no noise, — in such a night 
Troilus, methinks, mounted the Troyan walls, 
And sighed his soul toward the Grecian tents, 
Where Cressid lay that night. 

Jes. In such a night 

Did Thisbe fearfully o'ertrip the dew, 
And saw the lion's shadow ere himself, 
And ran dismayed away. lo 

Lor. In such a night 

Stood Dido with a willow in her hand 
Upon the wild sea banks, and waft her love 
To come again to Carthage. 

Jes. In such a night 

Medea gathered the enchanted herbs 
That did renew old ^Eson. 

Lor. In such a night 

Did Jessica steal from the wealthy Jew, 

129 



130 MERCHANT OF VENICE (Act V 

And with an unthrift love did run from Venice 
As far as Belmont. 

Jes. In such a night 

Did young Lorenzo swear he loved her well, 
Stealing her soul with many vows of faith, 
And ne'er a true one. 

Lor. In such a night 20 

Did pretty Jessica, like a little shrew. 
Slander her love, and he forgave it her. 

Jes. I would out-night you, did no body come: 
But, hark, I hear the footing of a man. 

Enter Stephano 

Lor. Who comes so fast in silence of the night? 

Steph. A friend. 

Lor. A friend! what friend? your name, I pray 
you, friend? 

Steph. Stephano is my name; and I bring word 
My mistress will before the break of day 
Be here at Belmont; she doth stray about 3o 

By holy crosses, where she kneels and prays 
For happy wedlock hours. 

Lor. Who comes with her? 

Steph. None but a holy hermit and her maid. 
I pray you, is my master yet returned? 

Lor. He is not, nor we have not heard from 
him. — 
Bui go we in, I pray thee, Jessica, 
And ceremoniously let us prepare 
Some welcome for the mistress of the house. 



Scene I] MERCHANT OF VENICE 131 

Enter Launcelot 

Laun. Sola, sola: wo, ha, ho, sola, sola! 

Lor. Who calls? • 4o 

Laun. Sola! Did you see master Lorenzo? 
Master Lorenzo, sola, sola! 

Lor. Leave hollaing, man; here. 

Laun. Sola! Where? where? 

Lor. Here. 

Laun. Tell him there's a post come from my 
master, with his horn full of good news; my master 
will be here ere morning. [Exit 

Lor. Sweet soul, let's in, and there expect their 
coming. 
And yet no matter: why should we go in? — so 

My friend Stephano, signify, I pray you. 
Within the house, your mistress is at hand: 
And bring your music forth into the air. — 

[Exit Stephano 
How sweet the moonlight sleeps upon this bank! 
Here will we sit and let the sounds of music 
Creep in our ears; soft stillness and the night 
Become the touches of sweet harmony. 
Sit, Jessica. Look how the floor of heaven 
Is thick inlaid with patines of bright gold: 
There's not the smallest orb which thou behold'st 60 
But in his motion like an angel sings. 
Still quiring to the young-eyed cherubins: 
Such harmony is in immortal souls; 
But whilst this muddy vesture of decay 



132 MERCHANT OF VENICE [Act V 

Doth grossly close it in, we cannot hear it. — 

Enter Musicians 

Come, ho, and wake Diana with a hymn; 
With sweetest touches pierce your mistress' ear 
And draw her home with music. [Music 

Jes. I am never merry when I hear sweet music. 

Lor. The reason is, your spirits are attentive: 70 

For do but note a wild and wanton herd, 
Or race of youthful and unhandled colts, 
Fetching mad bounds, bellowing and neighing loud, 
Which is the hot condition of their blood; 
If they but hear perchance a trumpet sound, 
Or any air of music touch their ears. 
You shall perceive them make a mutual stand, 
Their savage eyes turned to a modest gaze 
By the sweet power of music: therefore the poet 
Did feign that Orpheus drew trees, stones, and 

floods; 80 

Since nought so stockish, hard, and full of rage, 
But music for the time doth change his nature. 
The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is fit for treasons, stratagems, and spoils; 
The motions of his spirit are dull as night, 
And his affections dark as Erebus: 
Let no such man be trusted, Mark the music. 

Enter Portia and Nerissa at a distance 

Por, That light we see is burning in my hall 



Scene I] MERCHANT OF VENICE 133 

How far that little candle throws his beams! 90 

So shines a good deed in a naughty world. 

Ner. When the moon shone, we did not see the 
candle. 

Por. So doth the greater glory dim the less: 
A substitute shines brightly as a king 
Until a king be by; and then his state 
Empties itself, as doth an inland brook 
Into the main of waters. Music! hark! 

Ner. It is your music, madam, of the house. 

Por. Nothing is good, I see, without respect; 
Methinks it sounds much sweeter than by day. too 

Ner. Silence bestows that virtue on it, madam. 

Por. The crow doth sing as sweetly as the lark. 
When neither is attended; and I think 
The nightingale, if she should sing by day. 
When every goose is cackling, would be thought 
No better a musician than the wren. 
How many things by season seasoned are 
To their right praise and true perfection! — 
Peace, ho! the moon sleeps with Endymion 
And would not be awaked! [Music ceases 

Lor. That is the voice, no 

Or am I much deceived, of Portia. 

Por. He knows me, as the blind man knows the 
cuckoo. 
By the bad voice. 

Lor. Dear lady, welcome home. 

Por. We have been praying for our husbands' 
welfare, 



134 MERCHANT OF VENICE [Act V 

Which speed, we hope, the better for our words. 
Are they returned? 

Lor, Madam, they are not yet; 

But there is come a messenger before, 
To signify their coming. 

For. Go in, Nerissa; 

Give order to my servants that they take 
No note at all of our being absent hence; — 120 

Nor you, Lorenzo; — Jessica, nor you. 

[A tucket sounds 

Lor. Your husband is at hand; I hear his trumpet : 
We are no tell-tales, madam; fear you not. 

For. This night methinks is but the daylight 
sick; 
It looks a little paler; 'tis a day, 
Such as the day is when the sun is hid. 

Enter Bassanio, Antonio, Gratiano, and 
their Followers 

Bass. We should hold day with the Antipodes, 
If you would walk in absence of the sun. 

For. Let me give light, but let me not be light; 
For a light wife doth make a heavy husband, i30 

And never be Bassanio so for me; 
But God sort all! You are welcome home, my lord. 

Bass. I thank you, madam. Give welcome to my 
friend. 
This is the man, this is Antonio, 
To whom I am so infinitely bound. 



Scene I] MERCHANT OF VENICE 135 

Por. You should in all sense be much bound 
to him, 
For, as I hear, he was much bound for you. 

AnL No more than I am well acquitted of. 

Por. Sir, you are very welcome to our house: 
It must appear in other ways than words, uo 

Therefore I scant this breathing courtesy. 

[Gratiano and Nerissa talk apart 

Gra. By yonder moon I swear you do me wrong; 
In faith, I gave it to the judge^s clerk 

Por, A quarrel, ho, already! what's the matter? 

Gra. About a hoop of gold, a paltry ring 
That she did give me; whose posy was 
For all the world like cutler^s poetry 
Upon a knife, 'Love me, and leave me not.' 

Ner. What talk you of the posy, or the value? 
You swore to me, when I did give it you, 150 

That you would wear it till your hour of death; 
And that it should lie with you in your grave: 
Though not for me, yet for your vehement oaths. 
You should have been respective and have kept it. 
Gave it a judge's clerk! — but well I know 
The clerk will ne'er wear hair on's face that had it. 

Gra. He will, an if he live to be a man. 

Ner. Ay, if a woman live to be a man. 

Gra. Now, by this hand, I gave it to a youth, 
A kind of boy; a little scrubbed boy, 16O 

No higher than thyself, the judge's clerk; 
A prating boy, that begg'd it as a fee; 
I could not for my heart deny it him. 



Scene I] MERCHANT OF VENICE 137 

Por. You were to blame, I must be plain with you, 
To part so slightly with your wife's first gift; 
A thing stuck on with oaths upon your finger 
And so riveted with faith unto your flesh. 
I gave my love a ring and made him swear 
Never to part with it; and here he stands; 
I dare be sworn for him, he would not leave it i70 

Nor pluck it from his finger, for the wealth 
That the world masters. Now, in faith, Gratiano, 
You give your wife too unkind a cause of grief; 
An't were to me, I should be mad at it. 

Bass. [Aside] Why, I were best to cut my left 
hand off 
And swear I lost the ring defending it. 

Gra, My lord Bassanio gave his ring away 
Unto the judge that begg'd it and, indeed, 
Deserved it too; and then the boy, his clerk 
That took some pains in writing, he begged mine: iso 
And neither man nor master would take aught 
But the two rings. 

Por. What ring gave you, my lord? 

Not that, I hope, which you received of me. ' 

Bass. If I could add a lie unto a fault, 
I would deny it; but you see my finger 
Hath not the ring upon it; it is gone. 

Por. Even so void is your false heart of truth. 
By heaven, I will never be your wife 
Until I see the ring. 

Ner. Nor I yours, 

Till I again see mine. 



138 MERCHANT OF VENICE [Act V 

Bass. Sweet Portia, .190 

If you did know to whom I gave the ring, 
If you did know for whom I gave the ring, 
And would conceive for what I gave the ring. 
And how unwiUingly I left the ring, 
When naught would be accepted but the ring, 
You would abate the strength of your displeasure. 

Por. If you had known the virtue of the ring. 
Or half her worthiness that gave the ring. 
Or your own honour to contain the ring. 
You would not then have parted with the ring. 200 

What man is there so much unreasonable. 
If you had pleased to have defended it 
With any terms of zeal, wanted the modesty 
To urge the thing held as a ceremony? 
Nerissa teaches me what to believe; 
I'll die for't but some woman had the ring. 

Bass. No, by mine honour, madam, by my soul, 
No woman had it, but a civil doctor. 
Which did refuse three thousand ducats of me. 
And begg'd the ring; the which I did deny him, 210 

And suffered him to go displeased away; 
Even he that did uphold the very life 
Of my dear friend. What should I say, sweet 

lady? 
I was enforced to send it after him; 
I was beset with shame and courtesy; 
My honour would not let ingratitude 
So much besmear it. Pardon me, good lady; 
For, by these blessed candles of the night. 



Scene I] MERCHANT OF VENICE 139 

Had you been there, I think, you would have begged 
The ring of me to give the worthy doctor. 220 

Por. Let not that doctor e^er come near my house : 
Since he hath got the jewel that I loved. 
And that which you did swear to keep for me, 
I will become as liberal as you: 
I'll not deny him any thing I have. 

Ner. And I his clerk; therefore be well advised, 
How you do leave me to mine own protection. 

Gra. Well, do you so: let not me take him then; 
For, if I do, I'll mar the young clerk's pen. 

Ant I am the unhappy subject of these quarrels. 230 

Por. Sir, grieve not you; you are welcome not- 
withstanding. 

Bass, Portia, forgive me this enforced wrong; 
And, in the hearing of these many friends, 
I swear to thee, even by thy own fair eyes, 
Wherein I see myself, — 

Por. Mark you but that! 

In both my eyes he doubly sees himself: 
In each eye one: — swear by your double self, 
And there's an oath of credit. 

Bass. Nay, but hear me. 

Pardon this fault, and by my soul I swear 
I never more will break an oath with thee. 210 

Ant. I once did lend my body for his wealth; 
Which, but for him that had your husband's ring. 
Had quite miscarried: I dare be bound again. 
My soul upon the forfeit, that your lord 
Will never more break faith advisedly. 



140 MERCHANT OF VENICE [Act V 

Por. Then you shall be his surety. Give him this; 
And bid him keep it better than the other. 

Ant. Here, lord Bassanio; swear to keep this ring. 

Bass. By heaven, it is the same I gave the doctor! 

Por. You are all amazed: 250 

Here is a letter; read it at your leisure; 
It comes from Padua, from Bellario: 
There you shall find that Portia was the doctor; 
Nerissa there her clerk: Lorenzo here 
Shall witness I set forth as soon as you 
And even but now returned; I have not yet 
Entered my house. — Antonio, you are welcome: 
And I have better news in store for you 
Than you expect: unseal this letter soon; 
There you shall find three of your argosies 260 

Are richly come to harbour suddenly: 
You shall not know by what strange accident 
I chanced on this letter. 

Ant. I am dumb. 

Bass. Were you the doctor, and I knew you not? 

Ant. Sweet lady, you have given me life and liv- 
ing; 
For here I read for certain that my ships 
Are safely come to road. 

Por. How now, Lorenzo! 

My clerk hath some good comforts too for you. 

Ner. Ay, and I'll give them him without a fee. — 
There do I give to you and Jessica, 270 

From the rich Jew, a special deed of gift. 
After his death, of all he dies possessed of. 



Scene IJ MERCHANT OF VENICE 141 

Lor. Fair ladies, you drop manna in the way 
Of starved people. 

Por. It is almost morning, 

And yet I am sure you are not satisfied 
Of these events at full. Let us go in; 
And charge us there upon inter'gatories. 
And we will answer all things faithfully. 

Gra, Well, while I live I'll fear no other thing 
So sore as keeping safe Nerissa's ring, 28o 

[Exeunt 



NOTES 



The following contractions are used in the notes: Cf. = confer 
(compare); Cogs. = cognates; Gr. = Greek; Lat. = Latin; N. E. 
= Northern English; N. Fr. = Norman French; O. E. = 01d Eng- 
lish (or Anglo-Saxon); Abbott = Dr. Abbott's Shakespearean 
Grammar; CI. P. S. == Clarendon Press Series; and Co. S.= Col- 
linses Series. 

ACT I 

Scene I 

"In this first scene, we view Antonio ^rich, liberal, surrounded 
with friends; yet he is unhappy. . . . He will not acknowledge 
the foreboding of evil which comes across his mind.' — Knight. 
We are shown the causes of the drama's action; Bassanio's court- 
ship of Portia, and Antonio's generous love for his friend." 

Page 37. 1. Sooth. Truth. We have the compounds for- 
sooth (used both seriously and ironically), soothfast, and soothsayer 
(prophet); and Shakespeare has the phrases, in good sooth and 
in very sooth. In Rich rd II (III, iii), we find words of sooth for 
kindly words of assent. — Sad. Coleridge points out that this speech 
of Antonio's gives the key-note of the play; the coming disaster 
casts a shadow over the prosperous merchant. 

4. Stuff. In the old sense of material. So Julius Ccesar (III, 
ii, 95): *' Ambition should be made of sterner stuff"; and The 
Tempest (IV, i, 137): "We are such stuff as dreams are made on." 

6. Want-wit. Idiot; wit being used in the older meaning of 
ability or sense. Wan (which is a cognate of want and wane) was 
in O. E. a common prefix; thus we had wanhope for despair; 
wantrust (mistrust), etc. 

9. Argosies. Argo was the name of the ship which carried 
Jason to Colchis, and hence became a favorite name for vessels. 
Argis was the Low Latin for a large merchant vessel. 

10. Signiors. The Italian way of spelling the Latin senior, an 
elder. The g comes in through the combination of n and i, as in 
stranger, from extraneus. — Burghers. Townsmen (freemen of a 
burgh), of less high rank than the signiors. 

143 



144 MERCHANT OF VENICE 

11. Pageants. This word originally meant the movable plat- 
form on which mystery plays were performed. ''In calling argo- 
sies pageants, Shakespeare alludes to the enormous machines in the 
shapes of castles, dragons, giants, etc., that were drawn about the 
streets in the ancient shows or pageants." 

12. Overpeer. Pore is a cognate of peer. 

15. Venture. Risk, or what is risked. Venture was, in 
Shakespeare's time, the technical term for a cargo; so the mer- 
chants of Bristol called themselves ''Merchant Adventurers." — 
Forth. Out. See also line 143 of this scene; and Shylock's (II, 
v, 11): "I am bid forth to supper." So Othello (V, i): "Forth! 
my sword." 

17. Stillo Constantly. So Othello (I, iii, 147):— 

But still the house affairs would draw her thence. 

Shakespeare also uses still as an adj'ective: Titus Andronicus (III, 
ii): "And by still practice learn to know the meaning." 

Page 38. 19. Peering in. We should now say poring over, 
— Roads. Where ships ride. 

21. Out of doubt. Modifies make. 

25. Sandy. Cf. Henry 77, Part I (IV, ii, 35):— 

For ere the glass ... 

Finish the process [the going out] of his sandy hour. 

Hour-glass. In Shakespeare^s time an hour-glass was commonly 
found in churches, fixed near the pulpit. (CI. P. S.) 

27. Andrew. A favorite name for large merchant ships, prob- 
ably from the great Genoese admiral, Andrea Doria, who died 
in 1560. 

28. Vailing. Lowering. Spenser has avale, which is said to 
come from Lat. ad valient (to the valley), as amount is from ad 
montem (to the height). 

31. Straight. At once This is the most usual meaning of 
the word in Shakespeare. 

33. Stream. Current. Cf. Gulf Stream. 

35. Worth this. Some expressive gesture must be supposed. 

42. Bottom. Vessel. 

Page 39. 50. Janus (and Jana). Old forms of Dianus and 
Diana, the sun and the moon. Janus opened the year; and hence 
the first month was called after him. He was the porter of heaven, 
and hence was called Patulous (from pateo, I open) and Clusius 
(from claudo, I shut). He was the guardian deity of gates, and, 
as a gate looks two ways, he is represented with two heads. 

bb. In way. Cf. Julius Ccesar (III, i, 217): ^'In number of 



NOTES: ACT /, SCENE I 145 

our friends/' and Two Gentlemen of Verona (I, i): ''In absence of 
thy friend." Other omissions of the are found in the phrases a 
door, at palace, at height, in pail, etc. 

56. Nestor. King of Pylos, and the adviser of the Greeks in 
the Trojan war. Nestor attained a great age and was famous for 
his wisdom. (Co. S.) 

58. Fare. From O. E. faran, to go. Cogs.: Far, fare (pay- 
ment), thoroughfare, fieldfare, ferry, ford, welfare, farewell. 

61. Prevented. Anticipated. So, in the Prayer-book: "Pre- 
vent us, O Lord, in all our doings." 

67. Strange. It is the opposite oi familiar. So Twelfth Night 
(V, i, 208): "You throw a strange regard upon me", and Comedy 
of Errors (II, ii): "As strange unto your town as to your talk." 

Page 40. 74. Respect upon. Carefulness about. Shake- 
speare generally uses of after respect. Cf. Macbeth (III, i, 17): 
"Let your highness command upon me." 

79. Fool. The Fool was a stock character in all the old come- 
dies, and his function was to show the comic side of all that was 
happening on the stage. 

84. Grandsire. Sire and sir are contracted forms of senior, 

85. Jaundice (from Fr. jaune) was formerly called the yellowes, 

89. Mantle. Used by Shakespeare both transitively and in- 
transitively. Cf. The Tempest (V, i, 67): "The ignorant fumes 
that mantle their clearer reason." In the present passage the verb 
is intransitive. 

90. Do. The nominative who must be supplied out of whose. 
— Stillness. Silence. (Cf. V, i, 56.) — Entertain. Maintain. 

91. Opinion. Reputation. Cf. Henry IV, Part I (111, ii, 42): 
"Opinion, that did help me to the crown"; and Othello (I, iii, 225): 
"Opinion, a sovereign mistress of effects." 

92. Conceit. The most usual meaning of this word in Shake- 
speare is conception or idea; the next is mental power; and the least 
usual is fanciful thought — a meaning which comes nearest to our 
modern one, which, however, is never employed by Shakespeare. 

94. Ope. Short form for open. 

97-99. Who I'm very sure .... fools. This is a difficult 
passage. It is said to be an allusion to Matt. v. 22; and that the 
meaning is that these silent conceited persons would, if they spoke, 
provoke their hearers to call them fools, and that these hearers 
would thus incur the condemnation mentioned in the text. A 
silly speech brings the hearer, in Gratiano's view, into danger of 
perdition, by tempting him to say to his brother, "Thou fool!" 
In Shakespeare a number of thoughts jostle each other, become 
mixed, and lose their identity, so that even Shakespeare himself 
could not have unravelled and individualized them. 



146 MERCHANT OF VENICE 

Page 41. 102. Gudgeon. A fish easily caught. (Co. S.) 
108. Moe. Shakespeare has the three forms, mo, moe, and 

more, 

110. Gear. Stuff; used by Shakespeare also in the sense of 

business. 

123. Disabled. Impaired. Used by Shakespeare also in the 
sense of undervalue, in this play, and in As You Like It, (IV, i): 
^'Disable all the benefits of your own country.^' 

124. Something. Somewhat. — Swelling port. So, in III, ii, 
277: ^'The magnificoes of greatest port.^' 

Page 42. 125. Continuance. Of is required. So, in IV, i, 
384: ''All he dies possessed." 

126. Make moan to. Complain about. The O. E. infinitive 
ended in an; and to was used only with the gerund to lovene = ad 
amandum, and to express purpose, as ''He went to find it" (also 
in some Eng. ^^for to find it"). But in Shakespeare we find to em- 
ployed with many senses. Thus, in IV, i, 431: "I will not 
shame myself to give you [ = by giving you] this"; and Richard 
HI (II, ii): "Ah, who shall hinder me to wail [ = from wailing] and 
weep?" and Romeo and Juliet (V, iii): — 

What mean these masterless and gory swords 

To lie [=by lying] discolored by this place of peace? 

130. Gaged. For engaged, meaning pledged. 

132. Warranty. Eng. form of guarantee. The Norman French, 
unable to pronounce the w, employed a gu; and the English some- 
times substituted a w for a gr or gu. Cf. w^ar, guerre; wile, guile; 
wise, guise; warden, guardian; wardrobe, garderohe; William, 
Guillaume; and others. 

136. Still. Constantly. It would be a very doubtful 
compliment if Antonio meant up to this time. Cf. note on I. 
i. 17. 

141. His. For its. The word its did not come into general 
use till the end of the seventeenth century. Shakespeare died in 
1616. Milton, who hardly ever uses its, died in 1674. Its is an 
improperly formed genitive, just as illudius would be. The old 
third personal pronoun was he, heo, hit, where the t is the sign of 
the neuter; and the genitive was his, hire, his. 

142. Advised. Careful, considerate. Cf. Henry V (I, ii, 176): — 

While that the armfed hand doth fight abroad, 
The advisfed head defends itself at home. 

144. Childhood proof. Childish test. 

146. Wilful. Reckless. The whole sentence is illogical; but 



NOTES: ACT I, SCENE I 147 

it is in the usual compressed and conversational manner of Shakes- 
peare. 

148. Self. Same. Shakespeare frequently uses the word in 
this sense. Cf. King Lear (I, i, 53): ^'I am made of that self metal 
that my sister is^'^ 

Page 43. 154. Circumstance. Beating round about the 
bush. 

156. Uttermost. Means. An adjective is frequently used for 
a noun by Shakespeare, and in peculiar ways. He uses an adjec- 
tive to designate a single person. In The Winter's Tale (I, ii, 472) : 
''His that did betray the Best" (= Christ); Timon of Athens (I. i): 
'"Tis not enough to help the feeble up, but to support him aft- 
er"; and in Sonnet Ixxviii, 7: ''And added feathers to the 
learned's wing." Again, Shakespeare has an adjective for an 
abstract noun. In Venus and Adonis: "A sudden pale usurps 
her cheek." 

160. Prest. Ready. 

161. Richly left. With a large inheritance. 

163. Sometimes. Probably for sometime = at one time. 

164. Speechless. In his eighth Sonnet, Shakespeare calls a 
song without words "a speechless song." 

171. Colchos. More correctly Colchis, a country at the east 
end of the Black Sea, ruled over by King Metes, who possessed 
the Golden Fleece, guarded by a watchful dragon. Jason was sent 
by his uncle Pelias to fetch the Fleece; and he succeeded by the 
help of Medea, the daughter of the king. 

172. Quest. From Lat. qucero, qucesitum, qucerere, to seek. 
Cogs.: Inquire, require, inquest, request. 

174. Rival. From Lat. rivus, a stream; persons living on the 
banks of a brook were supposed to have a standing difference with 
each other about water-rights. 

175. Presages. Supply which. The omission of the relative 
is another mark of Shakespeare's conversational style. Cf. 
Measure for Measure (II, ii, 34): "I have a brother is con- 
demned to die"; and Richard II (II, ii, 128): "The hate of 
those (who) love not the king." (See Abbott, sect. 244.) — 
Thrift. Success. From thrive. Cf. Drive, drift; draw, draft; 
shove, shift. 

178. Commodity. Property on which I can raise a loan. 

181. RackM. Stretched. 

183. Presently. Instantly. 

Page 44. 185. Of my trust. On my credit as a merchant, 

or on personal grounds as a friend. So Shakespeare has 
of force, of no right (we now ^slj of right); and see Hamlet (II, 
i, 61). 



148 MERCHANT OF VENICE 

Scene II 

"This scene brings before us the plot of the three caskets. We 
learn that, by her father's will, the beautiful Portia is bound to 
accept that man as husband who shall choose the right casket. 
At the end of the scene it is apparent that Bassanio's chances of 
winning the lady were excellent, if his fortune depended only on 
the wishes of the mistress and her maid. The lighter side of 
Portia's character is charmingly depicted in this scene." 

1. Troth. An asseveration. The word is a form of truth. 
Troth seems to be truth of character, faithfulness; truth j truth of 
statement. To hetroth, is to pledge one's troth. 

3. Sweet. Gentle. 

6. Surfeit. From Fr. surfaire, to overdo. — Starve in O. E. 
meant to die. Down to Chaucer's time (fourteenth century) it 
retains that meaning. The noun starvation is a hybrid, first 
uttered by a Mr. Dundas, a Scotchman and Chancellor of the 
Exchequer in the middle of the eighteenth century. 

8. Mean. From Lat. medium, through Low Lat. medianum, 
which gave the Fr. moyen. 

15. Easier. Shakespeare frequently uses adjectives as ad- 
verbs. Thus Macbeth (II, iii, 124): "Which the false man does 
easy^^; Antony and Cleopatra (II, ii): "'Tis noble spoken.'^ 

16. Twenty = twain-tig. Tig is the Danish for ten. 

21. Reasoning. Talk. Cf. Henry V (III, vii, 38): "'Tis a 
subject for a sovereign to reason on"; Cymbeline (IV, ii, 13): "I 
am not very sick, since I can reason of it"; and II, viii, 27 of this 
play: "I reasoned with a Frenchman yesterday." 

Page 45. 24. Will. Shakespeare liked a bad pun. So in 
Julius Ccesar (I, ii, 158) we have a pun on Rome (pronounced 
Room) : — 

Now is it Rome indeed, and room enough, 
When her wide walls encircle but one man. 

26. Nor . . . none. The O. E. custom was to double or even 
quadruple the negative, for the sake of intensity or emphasis. 
Thus Chaucer: — 

He never yit no vilanye ne saide 
In al his lyf unto no maner wight. 

The Latin use of making the one negative destroy the other 
apDears in the seventeenth century. 

27. Holy. From heal. Cogs.: Health; (w)hote, (w)hole- 



NOTES: ACT I, SCENE II 149 

some; hail. The w in whole is an error, as it is in the sound of 
one. 

29. Devised. Appointed by will. From Fr. diviser; and it 
therefore meant originally to divide. 

32. One. A modern writer would say by one. 

35. Over-name them. In modern English, name them over. 

37. Level, Aim. So Richard III (IV, iv, 207): "Level not 
to hit their lives.'' 

40. Appropriation. Acquired excellence. 

43. Cotmty. Count. A palatinate was a piece of land be- 
longing to the palace (Lat. palatium), as a personal append- 
age of the king or prince; and the count of it was the County 
Palatine. 

47. The weeping philosopher. Heraclitus, in opposition to the 
laughing philosopher, Democritus. 

48. Had rather. Had is the O. E. subjunctive, and corre- 
sponds to the German hatte. Rather is comparative of rathe y early. 
Cf. Milton's Lycidas: "And the rathe primrose that neglected 
dies." 

Page 46. 59. Throstle. A form of the word thrush. — Caper- 
ing. From Lat. caper, a goat. 

66. Say ... to. Portia intentionally misunderstands Nerissa. 

68. Come into the court. Bear me witness. 

70. The English. This is the old usage, still preserved in 
Scotland. So Frenchmen say Le latin; le grec, etc. 

72. Suited. Dressed. A suit of clothes was so called because 
each thing agreed with or 'followed' another. — Doublet. Coat or 
jacket. 

73. Round hose were those puffed out at the top. — Bonnet was 
in Shakespeare's time, as it still is in France and Scotland, the 
name for a man's headdress. Cf. Richard II (I, iv, 31): "Off goes 
his bonnet to an oyster- wench." 

80. The Frenchman became his surety. This is a sly hit at 
the long-standing alliance between the French and the Scotch. 

81. Sealed under. Signed (with his name and seal) the sup- 
posed bond signed by the Scotchman, but under the Scotchman's 
name. 

Page 47. 86. Drunk. Drunkenness was the usual charge 
against the Germans, or, as they were called in Shakespeare's time, 
Dutchmen. 

94. Rhenish. Now called hock. — Contrary. Wrong. 

104. Imposition. Conditions imposed. 

105. Sibylla was not a proper name. There were several 
Sibyllae or prophetesses — ten, say some — from the Babylonians 
down to the Tiburtine. 



150 MERCHANT OF VENICE 

Page 48. 128. Condition. Disposition. 

130. Shrive. Hear the confession of, and absolve. 



Scene III 

"This scene is very important. By the insight we get into the 
character of Shylock, and by the intimations of the treatment 
which he has received at Antonio's hands, we are prepared to 
. understand the Jew's frightful revenge. Shylock hates Antonio 
as a man, as a merchant who lends money without interest, and as 
a Christian, but he conceals this hatred under a friendly mask. 
When he has the power, he will repay his enemy tenfold for his 
intolerance, the sole blot on the merchant's character." 

1. Ducats. From Fr. dttca^, a coin issued by a sovereign duke. 

Page 49. 7. Stead. Help. Cf. Two Gentlemen of Verona 
(II, i): "So it steads you, I will write." — Pleasure. Frequently 
used by Shakespeare as a verb. 

12. Good. Sound, solvent, in much the same sense as the 
modern phrase, "as good as my word." In Cymbeline (V, iv) 
Shakespeare has "as good as promise." 

17. In supposition. In an unrealized and therefore doubtful 
form, as they may never come to port. 

20. Rialto. The Exchange of Venice. 

21. Squandered. Scattered. Cf. As You Like It (II, vii, 58): 
"The squandering glances of the fool." 

33. The habitation which, etc. See Matt. viii. 32. 

Page 50. 40. Fawning publican. The publicani were the 
men who bought the right of collecting the taxes and tributes due 
to the Roman government in Syria and other Roman provinces; 
they became very rich, and certainly did not need to fawn. But 
the feeling in Shakespeare's mind probably was that the publicans 
f were the persons most hated by the Jews; and thus the term 
would naturally occur to a Jew in a passion. 

44. Usance. Interest, payment for the use of money. The 
word occurs also in line 103. 

45. Catch .... upon the hip and throw him — a phrase taken 
from the practice of wrestling. 

46. Ancient. Of long standing. This is the most frequent 
meaning in Shakespeare. 

50. Interest. Everything relating to money-lending was looked 
upon in the Middle Ages as disgraceful; and words like usury and 
interest carried with them a sense of reprobation. Usury still has 
that sense, but interest has lost it. 



NOTES: ACT /, SCENE III 151 

53. Near. Coming as close as mere memory can bring me, 
without consulting my books. 

56. Tubal. Money-lenders, since the earliest ages, have 
always hunted in couples. Dickens, in David Copperfield, typifies 
the class in Messrs. Spenlow & Jorkins. 

Page 51. 62. Ripe wants. Wants come to maturity, and re- 
quiring immediate satisfaction. Cf. ''My thoughts are ripe in mis- 
chief" {Twelfth Night, V, i, 125); also ''ripe revenue.'' 

63. Possessed. Fully informed. 

68. Methought = it thought me, it seemed to me. There were 
two verbs, the intransitive thincan, to seem, and the transitive 
thencan, to think. 

77. Were compromised. Had made an agreement. (Co. S.) 

78. Eanlings. Newborn lambs. — ^Pied. Spotted. 

Page 52. 100. Beholding. Beholden. Beholding occurs nine- 
teen times in Shakespeare; beholden never once. Dr. Abbott 
thinks "Shakespeare fancied that ing was equivalent to en, the 
old affix of the past participle." 

105. Badge. Said to be a dialectic form of patch. 

107. Gaberdine. Ital. gavardina, a long coarse smock-frock. 
The word occurs again The Tempest (II, ii, 40). 

Page 53. 112. Void. An adjective used as a verb. (See 
Abbott, sect. 290.) 

113. Foot. A noun used as a verb. As with the adjective, the 
same set of causes produced this grammatical usage. Shakespeare 
has ^ 'barns a harvest"; "Such stuff as madmen tongue, and brain 
not" (chatter about but cannot think) (Cymbeline, V, iv, 146); 
to disaster, to knee, to lesson, to malice, to wage, etc. — Spurn. To 
strike with the spur or heel. To spur is to incite to pursuit. The 
idea of contempt in spurn is therefore secondary. 

129. A breed of. Interest for. 

131. Who, if he break. The who is a nominative without 
a verb. This is called by grammarians the "hanging nomina- 
tive." 

135. Doit is the English way of writing the German Deut (pro- 
nounced doit), a small coin. 

Page 54. 139. Notary. A law-officer who notes, or marks, or 
certifies deeds and other law writings. 

140. Single. With your own name only; without any other 
names as additional sureties. 

143. Condition. Agreement. — Forfeit. From Low Latin for- 
isfacere, to put out of doors, or outlaw; and hence, applied to 
property, to lose. 

144. Nominated for. Specified as. — Equal. Exact. Cf. Meas- 
ure for Measure (II, iv, 68): "Were equal poise of sin and charity." 



152 MERCHANT OF VENICE 

150. DweU. Continue. Cf. Henry VIII (III, ii, 132): "He 

should still dwell in his musings.^' 

167. Muttons, beefs. Here Shylock uses the N. Fr. words in- 
stead of the English sheep and oxen. Perhaps Shakespeare em- 
ployed these words to give a quaint and foreign flavor to Shy- 
lock's talk. 

163. Extend. Offer. 

Page 56. 165. For my love. For my love's sake. 

170. Fearful. In the sense of to be feared for. Dr. Abbott 
(sect. 3) notes: dreadful = awe-struck; terrible = frightened; a 
careless trifle (=not worth caring for), and others. 

174. Villain's mind. The meaning (meaning is a cognate of 
mind) which a villain puts into the seemingly very fair terms. 



ACT II 

Scene I 

*'This scene explains the story of the caskets more fully. We 
are told that he who chooses wrongly is 'never to speak to lady 
afterward in way of marriage/ a provision well calculated to keep 
down the number of suitors." 

Page 57. 1. Mislike. A word found three times in Shake- 
speare. 

9. Fear'd. Terrified. Shakespeare frequently uses an intrans- 
itive verb as a transitive. Cf. Henry VI, Part II (III, ii, 100): 
''Thy flinty heart might perish Margaret.'' 

12. Thoughts. Affection. 

14. Nice. Fastidious. 

16. Bars. Excludes, debars. 

17. Scanted. Straitened or limited. Cf . Henry V (II, iv, 149) : 
''Spoil his coat with scanting a little cloth." And Shakespeare has 
such phrases as "to scant excess," "to scant our former leaving," 
"to scant obedience" (King Lear, I, i, 261), and "to scant her 
duty." 

19 His . . . who. The antecedent to who must be found in 
his. This is very common in Shakespeare. 

20. Stood = would have stood. 

Page 58. 25. Sophy. The "common name for the emperor 
of Persia." 

26. Fields of. Battles from. — Solyman. The Eastern form of 
Solomon. Modern Ger. and Eng. forms are Seligman and Silliman. 
Solyman the Magnificent fought against the Persians in 1535. 



NOTES: ACT 11, SCENE II 153 

31. While. The O. E. hwile meant a space of time. It is used 
as a noun, a conjunctive adverb, and as a verb. 

32. Lichas. The page who brought to Hercules the poisoned 
shirt from Dejanira. 

35. Alcides. The son of Alceus = Hercules. Ides was the 
Greek patronymic — like son, Mac (Gaelic), vitch (in Russian), and 
ski (in Polish). 

42. Advised. Careful and do not attempt it. 



Scene II 

"This amusing scene shows us another view of Shylock's char- 
acter. Launcelot's conscience cannot persuade him to remain 
longer with such a master. Later in the scene we are prepared 
for Gratiano's courtship of Nerissa, and get our first knowledge of 
the masque which serves in a future scene for the escape of Jessica." 

Page 59. 9. Heels. The part for the whole. Cf . As You Like 
It (III, ii, 280): "Wit was made of Atalanta's heels.'' 

10. Via! Italian (from Lat. via, a way) for Be off! 

23. The mark. Perhaps the mark of the cross. 

Page 60. 35. Sand-blind. Purblind. Perhaps, says Mr. 
Wright, a corruption of O. E. sam ( = Lat. semi), half. 

36. Confusions. Launcelot uses learned and Latinized terms, 
and constantly makes mistakes in them; thus confusions is for 
conclusions. 

42. Marry. An ordinary pronunciation of Mary = hj Our 
Lady. 

43. Indirectly. He means directly or straight. 

44. Sonties. Corrupted from saints or sanctities. (CI. P. S.) 
48. Raise the waters. Raise a storm or commotion. 

53. A\ For he. (See Abbott, sect. 402.) 

Page 6L 56. Ergo. Lat. therefore. Launcelot has picked up 
a few Latin words, probably from attending his master at the court 
during lawsuits. 

58. An't = an it, that is, if it. 

60. Father. The ordinary mode of address from a young man 
to an elder, and not intended by Launcelot to enable his father to 
recognize him. 

68. Hovel-post. A post to support a hovel or shed. (Co. S.) — 

8L Stand up. Launcelot had been kneeling; and, according 
to the tradition of the stage from Shakespeare's own time, had 
presented the back of his head with its long hair to his father, who 
mistook it for a beard, while Launcelot has none. 



154 MERCHANT OF VENICE 

Page 62. 93. Fill-horse. Yot thill-horse = shaft-horse. jP and 
th are frequently interchanged both by individuals and by nations; 
the Russians write Feodore for Theodore. 

102. Set up my rest. A technical expression taken from an old 
game at cards = I am satisfied with my hand, I have made up my 
mind. 

105. Finger . . . with my ribs. Use my ribs for counting my 
fingers. 

Page 63. 115. Anon = an one = at once. An is an old form 
of on. 

119. Gramercy. Corrupted from Fr. grand merci, much 
thanks. 

124. Infection. For affection or desire. 

130. Cater-cousins. This word occurs only here in Shake- 
speare, and there is nothing but conjecture as to the derivation. 
It may mean '^allied not only by blood, but by accidentally meet- 
ing at the same table, when they are 'catered for^ together." 

133. Frutify. For certify. 

137. Impertinent. For per^meri^ = relating to. 

Page 64. 143. Defect. For effect. 

146. Preferred. Recommended for preferment. 

155. Guarded. Braided or trimmed. 

158. Table. The palm of the hand. The science of chiro- 
mancy (divining by the hand) was practised in Shakespeare's 
time, and is now by gypsies. 

Page 65. 170. Bestow'd. Arranged; also used by Shakespeare 
in its oldest sense of stow away. 

177. Suit. A request to make. 

185. Liberal. Free, even to taking '^liberties." Shakespeare 
has also such phrases as ^'a liberal villain." — ^Pain. Shakespeare 
has both pain and pains. 

187. Skipping. Thoughtless. Cf. Macbeth (I, ii, 30): "Com- 
pelled these skipping kerns to trust their heels." Shakespeare uses 
skipper for a flighty person {Taming of the Shrew, II, 341). 

190. Habit. Demeanor. 

Page 66. 191. With respect. Thoughtfully, and to the point. 

195. Civility. Used in the objective sense for refinement. 

196. Sad ostent. Grave demeanor. 



Scene III 

"As Homer makes us understand the greatness of Helen's beauty 
by showing its effect on the elders of Troy, >so Shakespeare exhibits 
the charm of Jessica in the words and tears of the clown." 



NOTES: ACT II, SCENE V 155 

Page 67. 10. Exhibit. Launcelot meant inhibit (stop). 
16. Heinous. ¥vom.Yr.haine {hatred). Shakespeare even uses 
it of animals — '^that heinous tiger'' {Titus Andronicus, V, iii). 



Scene IV 

"The plan of the masque, including Jessica's elopement, is 
herein further discussed." 

2. Disguise us. Such reflexive verbs are not unusual in 
Shakespeare. He has: repent me, repose you, retire himself, 
fear me, and even appear itself, where appear is transitive. 

5. Spoke us of. Bespoke. 

6. Quaintly. Fully, thoroughly well, and elegantly. 
Page 68. 10. Break w^ = op = open, 

11. Signify. Tell you. 

23. Provided of. Shakespeare has also: supplied of, satisfied 
of, mixed of, puffed of, etc. 

Page 69. 37. Faithless. Who does not hold the (Christian) 
faith. 

39, Shall be = is to be. 



Scene V 

"This scene is taken up with the escape of Jessica. Shylock 
goes to feast with Bassanio, and tells Jessica to keep the house 
fast shut. Launcelot delivers a message of contrary effect from 
Lorenzo and, as elsewhere, Jessica obeys her love at her father's 
expense." 

3. What. An interjection used in calling a person. 

11. Bid forth. Asked out. 

Page 70. 17. A-brewing. A is the broken-down form of the 
preposition an, now on. Brewing is the verbal noun, which 
formerly ended in ung. 

20. Reproach. For approach. 

25. Black-Monday was Easter Monday, April 14, 1360, when 
Edward III was lying with his army before Paris, and when ''a 
storm so bitter cold" broke on them that many men died on horse- 
back. The tradition remained; as the tradition of Black Friday 
in 1866, when Gurneys' Bank broke and there was a money panic 
in the city of London, still remains. 

30. Wry-neck'd. Wry, from O. E. writhan, to twist. Cogs.: 



156 MERCHANT OF VENICE 

Writhe, wreathe, wriggle; awry. It is the player who is wry- 
necked j because he has to turn his neck round. 

33. Vamish'd faces. The maskers painted their faces by way 
of disguise. (CI. P. S.) 

42. Worth a Jewess' eye, or a Jew's eye. This was a proverbial 
expression, and dates from the times when teeth or eyes were ex- 
tracted, ears sliced, and other tortures practised on Jews to make 
them pay large ransoms. 

Page 71. 43. Hagar's offspring. The Gentiles. 

45. Patch. The professional j fester wore a patched or motley 
coat. Patch was a common nickname for a fool. 

54. Stale. From stall; what has long been exposed on a stall. 



Scene VI 

1. Pent-house. From the Fr. appentis (a lean-to), from Lat. 
ad, to, and pendere, to hang. Appendix is the same word in an- 
other form. When a word is transferred bodily to another lan- 
guage, the tendency is for it to take the form of some other word 
in the language. Thus huffetier becomes beefeater; Bocage-walk, 
Bird-cage- walk; Chateau vert, Shotover; Whittington and his acote 
(purchasing), Whittington and his cat; quelque chose, kickshaws; 
etiquette, the ticket; and others. 

5. Venus' pigeons. Venus was said to be drawn in a chariot 
by doves. 

7. Obliged. Bound by contract, under obligation. 

Page 72. 9. Sits down. Supply with. 

10. Untread. Tread in the opposite direction, retrace. 

14. Younker. Shakespeare only once employs the word 
youngster. 

15. Scarfed. Decked with streamers, long pennants, and 
flags. 

18. Over-weather'd. Weather-beaten to excess. 

21. Abode. Delay, tarrying. 

30. Who. For whom. Dr. Abbott (sect. 274) gives several 
similar instances. 

Page 73. 35. Exchange, of my ordinary dress for that of a 
page. 

42. Too too light. Of this repetition of the too there are six 
examples in Shakespeare. The best known one is in Hamlet (I, ii, 
129): "O that this too too solid flesh would melt!" — ^Light is here 
used in a double sense. 

45. Garnish. Dress. From Fr. garner (to furnish), which is 
really the French form of the English (Teutonic) warn. 



NOTES: ACT II, SCENE VII 157 

47. Close. Secret. 

51. By my hood. Dr. Schmidt, the author of the Shakespeare 
Lexicon, thinks it means by my mask. 

52. Beshrew me. Indeed. Shrew is connected with shrewd. 
^'Beshrew me" (a mild form of asseveration) is frequently in 
Shakespeare followed by but. 

Page 74. 67. On't. Of it, a phrase still used in the north of 
England. 



Scene VII 

"In this scene the Prince of Morocco makes his choice among 
the caskets. We learn the mottoes on the caskets, and see the 
Prince led away by pride to choose the golden exterior and Vhat 
many men desire.' These preliminary scenes serve chiefly to 
work up our interest for the final test of Bassanio." 

1. Discover. Uncover or disclose. 

4. Who. For which. 

Page 75. 8. As blunt and plain as the metal itself. 

12. Withal. Together with it. 

20. Shows. Appearances. 

26. Rated by thy estimation. Valued according to thy repu- 
tation. 

30. Disabling. See note on I, i, 123. 

Page 76. 40. Mortal breathing saint. This saint, who is still 
alive; who, though canonized, still breathes. 

41. Hjnrcanian. Hyrcania was the ancient name of the region 
south of the Caspian. — ^Vasty. A favorite epithet of Shakespeare's. 
Cf. Henry IV, Part III (III, i): '^I can call spirits from the 
vasty deep." He also uses the odd noun vastidity ( = immen- 
sity) in Measure for Measure (III, i, 69): ^Though all this world's 
vastidity you had." 

42. Throughfares. Through and thorough are the same word; 
their root is thor (the same word as our door and the German 
Thor). 

43. Come view. Cf. the American (which is an old English) 
idiom, ^'help him build a house." This usage is found with many 
English verbs, as bid, dare, need, make, see, etc. 

51. Rib. Enclose. — Cerecloth. From Lat. cera, wax. It was 
a kind of cloth dipped in wax, and used to wrap the bodies of the 
dead. 

53. Ten times. This was the relative value of gold and silver 
in Shakespeare's time. 



158 MERCHANT OF VENICE 

57. Insculped upon. The figure of the angel was in relief. 
The angel was St. Michael piercing the dragon; and the value 
of the coin was ten shillings. 

59. Key. Pronounced in Shakespeare^s time, as now in Ire- 
land, kay. 

Page 77. 63. Carrion death. A skull from which the flesh 
had rotted off. (CI. P. S.) 

77. Part. For depart. So Shakespeare has (IV, i, 179 of this 
play) strained for restrained; cause for because; longing for belong- 
ing; and strayed for destroyed. 

79. Complexion. Probably here character, as in III, i, 29. 



Scene VIII 

'This scene shows us the various characters in side lights. 
Shylock is spoken of with the greatest contempt, and described 
wavering between his daughter and his ducats. Antonio, on the 
other hand, is most highly praised. We receive a first intimation 
of the coming ruin of the merchant. '' 

4. Villain. Not in the modem sense, but simply as a vague 
expression of contempt; low fellow. — Raised. Roused. 

Page 78. 10. Certified. Informed. From Lat. certiorem 
facere, to inform. 

25. Keep his day, for payment. 

27. Reasoned. Conversed. See note on I, ii, 21, and Luke 
V, 18: ''Why reason ye thus with yourselves?" 

30. Fraught. Freighted. 

33. You were best. It were best for you. The inflection for 
the dative in our pronouns was the same as that for the accusative. 
But the accusative (objective) of an active verb can be changed 
into the nominative of a passive verb; and the same thing was. 
done with the dative. Thus in ''He bought me a house," me is a 
dative; but, in turning it, people will say either: "A house was 
bought me," or — most illogically — "I was bought a house"; "I 
was given a place"; "I was offered a chair." Hence such ab- 
surdities as "I was shown over the house." 

39. Slubber. Slur. Cogs.: Slip; slop; sloppy. 

Page 79. 42. Mind of love. Loving mind. A common idiom 
in Shakespeare. Thus we have: a waste of shame; a god of 
power; men of sin; a gentleman of blood; pageants of delight; 
a dance of custom; apes of idleness; a tale of length; a boy 
of tears; and many others. Cf, Keats 's phrase, "a thing of 
beauty.". 



NOTES: ACT II, SCENE IX 159 

43. Employ .' . . to. Shakespeare in other passages always 
uses in. 

48. Affection. Emotion. — Sensible. Full of feeling. 

52. Quicken. Enliven. — Embraced. Which he clings to, or 
embraces. 

Scene IX 

"In this scene the Prince of Arragon tries his fortune with the 
caskets, but meets with no better success than his predecessor. 
At the end we are prepared for the entrance of Bassanio." 

1. Straight. Straightway, at once. 

3. Election. Choice. From Lat. eligo, I choose. 

Page 80. 13. Marriage. Three syllables, with the accent on 
age and the French pronunciation. 

18. So have I addressed me. For this I have prepared myself. 

24. That many . . . multitude. This sentence would in mod- 
ern English stand the other way: The fool multitude may, etc. 

26. Fond. Foolish. 

27. The martlet. A kind of swallow. In Macbeth (I, vi, 4) 
it is called ''the temple-haunting martlet." 

28. In the weather. Among storm and rain. Cf. the modern 
phrase, "to weather the storm.'' 

Page 81. 29. In the force. Exposed to the attack. 

31. Jump with. Agree with. 

37. Cozen. Cheat. A verb evolved out of cousin. — Skeat. 

41. Derived. From rivus, a stream. Cog.: Derivation. — 
Clear. Shakespeare has: a clear life; clear in his great office 
(Macbeth, 1, vii, 18); a clear countenance, etc. 

42. Purchased. Acquired. In Chaucer, purchase means to 
prosecute, from Fr. pourchasser, to hunt. 

47. Ruin. Refuse. 

50. Assume desert. Assume that I am a deserving person. 

54. Schedule. A little scroll. 

Page 82. 60. Distinct. Accented on dis. 

62. Fire. A dissyllable, as Matthew Arnold and other mod- 
ern poets still make it. 

67. I wis. A blunder for ywis, an O. E. word for indeed or 
certainly (cf. German gewiss). Coleridge and Macaulay make the 
same blunder, in the Ancient Mariner ("a speck, a mist, a shape, 
I wis'Oj and in the ballad of Horatius. There never was a verb 
wis. 

71. Sped. Done for, or undone. Cf. Romeo and Juliet (III, 
i, 88). 



160 MERCHANT OF VENICE 

73. By the time. In proportion to the time. — Linger. From 
long. Cf. late, loiter. 

77. Wroth. Misery. 

82. Goes. This looks like the singular; but it is really the 
Northern plural. Of the three chief dialects which were dominant 
in England in the thirteenth and fourteenth centuries, the North 
made its plural in es, as we hopes; the Midland in en, we hopen; 
and the Southern in eth, we hopeth. There are in Shakespeare 
many survivals of the Northern pliu-al (see Abbott, sect. 333). 

Page 83. 88. Sensible. Evident to the senses, or substantial. 
Cf. Macbeth (II, i, 36): ''Art thou not, fatal vision, as sensible to 
feeling as to sight ?^' — Regreets. Greetings. Cf. King John (III, 
i, 241). 

89. Commends. Compliments. 

90. Yet I have not. I have never yet. (CI. P. S.) 

97. High-day. Cf. the phrase "high-days and holidays." 
99. Post. Postman. 

ACT III 

Scene I 

''In the third act the various scattered threads of the drama are 
gathered up and brought together in preparation for the crisis of 
the following act. The first scene confirms the tidings of Antonio^s 
losses. The conversations between Shylock and the two friends, 
and between Shylock and Tubal, are masterpieces of character 
drawing, both of the Jew and of his somewhat flighty daughter. '' 

Page 84. 2. It lives there. The rumor is current there. 

3. The narrow seas. The English Channel. 

4. The Goodwins. The Goodwin Sands, off the Isle of Thanet, 
in Kent. The tradition is that these sands formed part of the 
estate of the great Earl Godwin, father of Harold, and that they 
were swallowed up by the sea in the year 1100. 

6. Tall. Strong. (Co. S.)— Gossip. Talker; but originally 
sib in Gorf = related to God. Godfathers and godmothers were the 
true godsibs or gossips. 

9. Knapped. Snapped. 

Page 85. 27. The wings she flew withal. The disguise she 
stole away in. 

43. Match. Bargain. 

45. Smug. Neat, well-dressed, and self- contented. Cf. Ger. 
schmuck. Shakespeare has the phrase, a smug bridegroom. 

46. Mart. An abridged form of market. 



NOTES: ACT III, SCENE II 161 

Page 86. 54. Hindered me. Kept me from gaining half a 
million ducats. (CI. P. S.) 

60. Fed. Supply is he not. 

72. Better. Frequently used by Shakespeare as a verb. 

Page 87. 77. Matched. Found to match them. 

84. Frankfort-on-the-Main has always been famous for its 
fairs. 

86. In that one diamond. 

Page 88. 118. One of them. Tubal skilfully intermingles 
''good news" with ''bad news," and thus works Shylock's passion 
of anger and avarice up to its highest height. 

121. Turquoise. Spelt also Turkis and Turkois, from the word 
Turkey. It is a pale blue stone, often set in the ring presented 
by an accepted lover. The permanence of its color was believed 
to depend on the constancy of his affection. 



Scene II 

"This scene forms the climax of the great love plot of the drama. 
Bassanio wins and marries Portia, thereby giving her a ground 
for the part she plays in the following act. Even before Bassanio 
makes his choice of the leaden casket, Portia admits her desire for 
his success. After his triumph she gives herself and all she has 
with the greatest grace and dignity imaginable. There is no for- 
cing of inclinations in this chance choice, between either Portia and 
Bassanio, or Nerissa and Gratiano. Before the lovers have been 
together long, however, a messenger enters, bringing word from 
Antonio of the forfeiture of the bond, and of the merchant's desire 
to see Bassanio before his death. Portia despatches her lover im- 
mediately to bring all possible help to his unfortunate benefactor." 

Page 89. 6. In such a quality. In the way I am doing. 
8. Hath no tongue. Can think, but must not speak. 

11. I am forsworn. I should then be. Forsworn = perjured. 
The for here has the negative force, not the intensive force it has 
in fordone and forlorn. 

12. So = forsworn. — So = under these circumstances. 

15. Overlooked. An allusion to the evil eye. It here means 
fascinated. 

18. Naughty. Good for naught, or wicked. 

20. So (the last so) = not yours. 

22.^ Peize. Some commentators read piece = piece out. But 
peize is from Fr. peser, to weigh down or weight. Portia wants to 
stay the flight of Time, and to hang leaden weights upon his wings. 



162 MERCHANT OF VENICE 



In Richard III (V, iii, 106) we have: ''Lest leaden slumber peize 
me down.'' 

Page 90. 29. Fear the enjoying. Doubt whether 1 shall ever 
enjoy. 

35. Love . . . confession. Had you said love instead of live, 
you would have expressed all that I have to confess. (CI. P. S.j 

44. A swan-like end. It was a common belief that swans 
uttered beautiful music just before they died. Tennyson has 
based a poem on this tradition. Cf. Othello (V, ii, 247): "I will 
play the swan, and die in music." 

45. Fading. Dying away. 

49. Flourish of trumpets in the ceremony of a coronation at 
the moment of placing the crown on the head of the king. 

Page 91. 54. Presence. Noble demeanor. — With much more 
love. Alcides (Hercules) rescued Hesione, the daughter of Lao- 
medon, king of Troy, — not because he loved her, but because her 
father had promised to give him the horses which Tros had 
received from Zeus (Jupiter). Hesione had been fastened to a 
rock on the seashore, as a sacrifice to the offended Poseidon (Nep- 
tune). 

57. I stand for sacrifice. Like Hesione. 

58. Dardanian. Trojan. — ^Wives. Women. Such was the O. 
E. sense, which gradually turned into = married women, just as 
man meant (and still means in Germany) husband. 

63. Fancy. Love. It is used by Shakespeare in this sense in 
twenty passages. The word fancy is a compressed form of phan- 
tasy. 

73. Be least themselves. Be least like the things themselves. 

74. Still. Constantly. 

76. Seasoned. Opposed to tainted. 

Page 92. 79. Approve. Prove or support it. From Lat. 
prohus, good; Fr. prouver; hence approve = to make good. 

81. Simple. Unmixed. (From Lat. simplex = semel plica, 
single fold.) 

86. Livers white as milk. Cf. Hamlet: — 

That I am lily-livered, and lack gall 
To make oppression bitter. 

87. Excrement. From Lat. excrescere, to grow out. The term 
is applied to the beard, which has generally been assumed to be a 
sign of physical courage. 

88. Redoubted. Feared or formidable. Frequently used by 
Shakespeare before names, as in ^^my most redoubted lord/' 
Richard II (III, iii, 198); ''my most redoubted father." 



NOTES: ACT III, SCENE II 163 

91. Lightest. Shakespeare uses light here in two senses = no^ 
heavy and frivolous. 

94. Upon supposed fairness. Placed upon fictitious beauty. 
Cf. The Merry Wives of Windsor (IV, iv, 61): ''Let the supposed 
fairies pinch him." 

95. The dowry of a second head. Cf . Sonnet Lxviii. : — 

Before the golden tresses of the dead, 

The right of sepulchres, were shorn away, 

To live a second life on second head; 

Ere beauty's dead fleece made another gay. 

"Golden" locks were fashionable in Queen EHzabeth's time; and 
she herself, when between sixty and seventy, wore a large mass of 
false hair of this color. 

99. An Indian beauty. The emphatic and contrasting word is 
Indian, a beauty that is dark and dusky, and merely Indian. 

102. Midas was a king of Phrygia, who, in return for a kind- 
ness to one of the attendants of Dionysos (Bacchus), obtained 
from him the favor that everything he touched might turn into 
gold. 

Page 93. 114. Surfeit. From Fr. surf aire, to overdo. 

115. Counterfeit. Portrait. So in Timon of Athens (V, i): 
"Thou drawest a counterfeit best in all Athens." 

120. Sunder gives sundry; as sever, several. 

126. Unfumish'd. Not having its other eye, because the 
painter had lost both his own, and could not finish his work, 
after he had painted one. 

130. Continent = Lat. continens, containing. In A Midsum- 
mer Night's Dream (II, i, 92) we have: "They [the rivers] have 
overborne their continents" [ = containing banks]. 

136. Fortune for your bliss. Look upon your fortune as your 
greatest happiness. 

Page 94. 140. I come by note. In accordance with the order 
written (or noted) in the scroll. 

141. In a prize. In a competition for a prize. 

156. ^ In your account. Estimation. This account is used in 
the subjective sense; the account in line 158 in the objective sense. 
^^ 157. Livings. Estates. Cf. The Winter's Tale (IV, ii, 102): 
''Where my land and living lies." The word is now confined to 
estates which belong to the Church. 

159. To term in gross. To speak generally of. 

Page 95. 172. I give them with this ring. So Shylock says 
(III, i, 121): "I had it of Leah when I was a bachelor." 

175. Vantage. Vantage-ground. — Exclaim on. Exclaim 
against. Shakespeare uses on with this verb in seven passages, 



164 MERCHANT OF VENICE 

in such phrases as "exclaims on Death''; "on the direful night"; 
etc. 

176. Bereft. Past participle of bereave, compound of reave, a 
form of rob. The ordinary function of be is to change an intransi- 
tive into a transitive verb (as in moan, bemoan)', but it is fre- 
quently added to verbs already transitive; as, befit, bemock, 
bestir, bepraise, bestain. 

179. Fairly spoke. Well and clearly spoken. So Shakespeare 
talks of books "very fairly bound," meaning elegantly. 

182. Blent. Blended. 

187. Our time that. The antecedent is to be taken out of our, 
Cf. V, i, 198: "If you had known . . . her worthiness that gave 
the ring"; and Julius Ccesar (I, i, 53) : — 

And do you now strew flowers in his way 
That comes in triumph over Pompey's blood? 

192. None from me. A double use of the word from. 
Page 96. 200. Intermission (five syllables). Pause, delay, or 
hesitation. 

205. Roof of my mouth. 

206. Last. Hold or continue — another of the weak plays upon 
words which the euphuistic tendency of the Elizabethan age made 
common in Shakespeare^s time. 

209. Achieved. Gained 

219. Very. True. Cf. The Tempest (II, ii, 95): "Thou art 
very Trinculo indeed." And Hamlet (II, ii, 49): "I have found 
the very cause of Hamlet's lunacy." 

Page 97. 228. Commends him. Himself. This is a common 
usage in Elizabethan English, and still more common in Early 
English. Cf . King John (V, vii, 55) : — 

My heart hath one poor string to stay if by. 

232. Estate. The unabridged form of the word state, Cf. 
Coriolanus (II, i, 105): "It gives me an estate of seven years' 
health." 

239. Shrewd contents. Evil news. Cf. As You Like It 
(V, iv, 180): "Endured shrewd days and nights " And we find 
in Shakespeare such phrases as "a shrewd turn," "foul shrewd 
news," and "to lift shrewd steel against our golden crown." 

242. The constitution. Temper, and habit of mind. 

243. Constant. Steady, firm-minded. 

Page 98. 254. Braggart. Ard, hard is a suffix which seems to 
indicate habit of mind. Thus a braggart is one who habitually 
brags. Cf. coward, laggard, sluggard. 



NOTES: ACT III, SCENE III 165 

258. Mere. Thorough, unqualified, absolute. 

260. The paper as. The paper being as. 

262. Issuing. Pouring out. This word in ordinary English is 
transitive only in one phrase, ''issue a paper or proclamation.^' 

268. It should appear. We should have expected would. 

Page 99. 272. Confound. Ruin. 

274. And doth impeach . . . This line means: He accuses the 
state of not giving equal rights and equal freedom to all. 

276. Magnifico. A title given to the nobility of Venice. See 
also Othello (I, ii, 12). 

277. Greatest port. Highest rank. The meaning here may 
be contrasted with that in I, i, 124. — ^Persuaded with. Advised 
and pleaded with. 

278. Envious. Malicious. 
285. Deny. Forbid. 

289. The best conditioned and unwearied. That is, most un- 
wearied, the superlative being supplied out of best. 

295. Deface. Cancel. 

298. Through ought to be thorough, to make the line. 

Page 100. 308. Cheer. Countenance. So we have in the 
New Testament: "Be of good cheer!" And in Shakespeare: — 

Whereat she smiled with so sweet a cheer. 

314. You and I. Shakespeare seems to consider the phrase 
Yovr-and-1 as incapable of inflection. 

Scene III 

"The ruin of Antonio is accomplished, and he is in the hands 
of the gaoler. Shylock is impenetrable to all entreaties of Salarino 
or Antonio, answering: — 

Thou call'dst me dog before thou hadst a cause: 
But, since I am a dog, beware my fangs. 

His speeches ring with long-pent hatred.'' 

1. Gaoler, etc. Debtors in prison seem to have been allowed 
to go out, accompanied by an officer, for the purpose of making 
arrangements with their creditors. This was the case in London 
down to 1800. 

Page 101. 9. Naughty. Unjust and wicked. 

19. Kept. Dwelt. Keep is frequently used in its intransitive 
sense by Shakespeare. Thus we find : "Where earth-delving conies 



166 MERCHANT OF VENICE 

keep'^; ^'A Spaniard that keeps here in court"; '^Knock at his 
study, where, they say, he keeps.'' 

20. Bootless. Useless. 

23. Made moan. Complained. 

25. Grant. Allow. , Cf. Cymbeline (II, i, 50): ''A fool granted" 
( = allowed or licensed). 

27. Commodity. Facilities of trading. 

Page 102. 31. Consisteth. For consist; but trade-and-profit 
may be looked upon as a compound noun, equivalent to commerce. 

32. 'Bated. Reduced, weakened. 



Scene IV 

"In this scene we see Portia preparing to follow her husband 
to Venice, accompanied by her maid, Nerissa. The scene shows 
us the intellectual firmness of Portia. At a time when few per- 
sons would be calm, she directs her household perfectly, clearly, 
and without a moment's hesitation." 

2. Conceit. Idea. 

7. Lover. Friend. This meaning is common in Shakespeare. 
Cf. Julius Ccesar (III, ii, 13), where Brutus begins his speech: 
"Romans, countrymen, and lovers!" 

9. Enforce you. Can make you feel. 

10. Repent for. Shakespeare has repent of, for, and over, and 
also without a preposition. 

12. Waste. Spend. Cf. A Midsummer Nighfs Dream (II, 
i, 57):— 

A merrier hour was never wasted there. 

And Julius Ccesar (II, i, 59) : — 

March is wasted fifteen days. 

14. Needs. An old genitive = o/ necessity. Similar genitives, 
now used as adverbs, exist in else ( = elles), lengthways, Mondays 
(= of a Monday); and hence {henries), whence (whennes). 

15. Lineaments. Features. 

Page 103. 25. Husbandry. Care. — ^Manage. Management. 
The word management does not occur in Shakespeare at all. 

33. Imposition. The task I impose on you. 

35. Lays. For lay. This is common with Shakespeare. 

Page 104. 49. Padua. A university famous in the Middle 
Ages as a great law school. 



NOTES: ACT III, SCENE V 167 

52. Imagined speed. With the speed of thought. 

53. Tranect. The word is probably traject, from Italian 
traghetto, sl ferry. 

56. Convenient. Suitable. 

59. Think of us. Think of seeing us. 

67. Reed voice. The shrill voice that comes between boyhood 
and manhood. 

68. Frays. Battles. 

69. Quaint. Finely turned, elaborate. 

Page 105. 72. I could not do withal. I did not care for them; 
I could not do with them; they were not the sort I liked. I could 
not help it. (CI. P. S.) 

77. Raw. Unripe; youthful. (Co. S.) — Jacks. A term of 
contempt. Cf. Cheap- Jack for hawker. 

79. All my whole. A phrase found eight times in Shakespeare. 
See Henry VI, Part I (I, i, 126): ''AH the whole army stood 
agazed on him.'' 

Scene V 

''In this scene we have more pla3rfulness between Jessica, 
Launcelot, and Lorenzo, and get a little further insight into the 
characters of the actors in this secondary love plot. The scene 
ends with Jessica's famous eulogy on Portia." 

3. I fear you. Fear for you. Shakespeare makes fear, in the 
sense of to he anxious about, take a direct object. See III, ii, 29. 

4. Agitation. Another blunder of Launcelot's for cogitation, 
idea of. 

Page 106. 16. Scylla. In the Straits of Messina there was, 
according to the old Greek tradition, a dangerous rock called 
Scylla on the Italian coast; and on the opposite coast of Sicily 
there was a whirlpool called Charybdis. In certain states of the 
wind, the sailor who kept away from the one fell into the 
other; and hence the Latin line: Incidit in Scyllam qui vult vitare 
Charyhdim — (He falls into Scylla who desires to avoid Charyb- 
dis). 

32. Are out. Have fallen out, or quarrelled. Cf. Julius 
Ccesar (I, i, 18): "Be not out with me." 

Page 107. 48. Quarrelling with occasion. Quibbling on every 
opportunity. 

57. Discretion. The power of separating this from that. 
From Lat. discerno, I divide (mental things). 

60. A many. Shakespeare uses both the and a with many. 
Cf. Coriolanus (III, i, 66): — 



168 MERCHANT OF VENICE 

The mutable, rank -scented many. 

Let them regard me as I do not flatter. 

And King John (IV, ii, 199): ^'Told of a many thousand war- 
like French." And we also find a many followed by of, as "A 
many of your horsemen" {Henry V, IV, vii, 90). Dr. Abbott, 
sect. 87, says: ^^A was frequently inserted before a numeral ad- 
jective, for the purpose of indicating that the objects enumerated 
are regarded collectively as one." And he quotes, ''this three 
mile"; ''an eight days after these sayings" {Luke ix, 28). 

61. Gamish'd like him. Furnished with words and ideas like 
his. 

62. Defy the matter. Set the meaning at defiance. (Co. S.) 
69. Mean it. Be thoroughly in earnest about living an upright 

life. 

Page 108. 74. Pawn'd. Staked, to make up the difference. 

76. Of me. In me. 

79. Stomach. Inclination. 

82. I'll set you forth. Describe or praise you fully. 

ACT IV 

Scene I 

"This is the famous trial scene. It is laid in the courtroom 
before the Duke and Magnificoes of Venice. At first we have 
appeals to Shylock^s mercy from the Duke, from Bassanio, and 
from Antonio's other friends, but all in vain. Shylock is without 
softness. Portia now enters, dressed as a doctor of laws sent by 
the learned Bellario. She hears the case reviewed, and says: 'Then 
must the Jew be merciful.' 'On what compulsion must I?' an- 
swers Shylock. Now follows Portia's famous speech on mercy. 
Shylock not only will listen to no exhortations, but will not accept 
ten times the amoimt of his bond in payment. Portia says that 
the court awards Shylock his pound of flesh, and he prepares to 
cut it. Before he has touched Antonio, she tells him that the 
bond gives him 'no jot of blood,' and if Antonio lose any, all the 
Jew's goods are confiscated. Shylock offers to take thrice the 
money, and then the principal only. But Portia says 'No'; he 
shall have only his bond. Shylock will 'stay no longer question.' 
But the righteous judge will not let him escape until he promises 
to hold half his goods for Lorenzo and Jessica, and to become a 
Christian. The Jew consents and goes staggering from the room. 
Both the Duke and Bassanio now wish to entertain Portia, and 
the latter begs her to accept the three thousand ducats, but she 



NOTES: ACT IV, SCENE I 169 

will have naught but the gloves of Antonio and the ring of Bas- 
sanio. This Bassanio feels that he cannot grant, for the ring is 
his wife's present, but finally, at Antonio's solicitation, sends 
Gratiano with the ring after Portia." 

Hazlitt speaks of this scene as follows: 

''The whole of the trial scene, both before and after the entrance 
of Portia, is a masterpiece of dramatic skill. The legal acuteness, 
the passionate declamations, the sound maxims of jurisprudence, 
the wit and irony interspersed in it, the fluctuations of hope and 
fear in the different persons, and the completeness and suddenness 
of the catastrophe, cannot be surpassed." 

Page 109. 5. Uncapable. Un is the English, in the Latin, neg- 
ative prefix. But Shakespeare has: unfirm, unpossible, un curable, 
unvincible, etc.; and, on the other hand, he writes incharitable, 
infortunate, incivil, and ingrateful (all of which, by the way, are 
right). The modern use is itself variable, for we say ungrateful 
and ingratitude; unequal and inequality. — Empty from. This is 
the only instance in Shakespeare where empty is followed by from. 

7. Qualify. Modify, moderate. 

8. Obdurate. The accent is on dur. 

9. That. A representative particle for since. The French use 
que in the same way; instead of repeating si, quand, or some such 
conjunction, they insert que. 

13. Very would seem here to carry the meaning of utmost. Dr. 
Schmidt says that very is ^'generally placed before substantives 
to indicate that they must be understood in their full and un- 
restricted sense." 

Page 110. 20. Remorse. Pity or relenting. This is much 
the more usual meaning in Shakespeare. Cf. King John (IV, 
iii, 50): "The tears of soft remorse." 

22. Where. Whereas. 

24. Loose. Give up or release. 

26. Moiety. A portion. In nine passages Shakespeare uses it 
in the strict sense of one half; and in seven passages he employs it 
in the sense of a portion. 

39. Charter. Venice was an independent republic, with a 
Duke (Doge) at its head; but perhaps Shakespeare thought that 
it, like some of the minor Italian and German states, held a charter 
from the Emperor of Germany. 

43. Say. Let us say or suppose. 

Page IN. 46. Baned. Poisoned. O. E. hana^ destruction. 
We have the words henbane and raVs-bane. 

47. A gaping pig. A pig's head on the table, with a lemon in 
its mouth. 



170 MERCHANT OF VENICE 

52. Firm. Sound, well-founded. 

59. Lodged. Settled. Cf. Romeo and Juliet (II, iii, 36): 
''Where cares lodge, sleep will never lie." 

61. A losing suit. A suit in which I can gain nothing. 
63. Current. Course. 

66. Hates . . . kill. Aristotle's definition of hatred is ''a 
desire for the non-existence of something which exists." 

67. Offence. Offence taken. 
69. Question. Discuss. 

71. Main flood. The flowing ( = flood) of the main sea. 

72. Question. Here the word is used as a noun. See below, 
line 167. 

Page 112. 76. Fretten. The original meaning oi fret in O. E. 
is to eat (German /ressen) . So Shakespeare has: ''Rust the hidden 
treasure frets." And we have in Scripture the phrase, "a moth 
fretting a garment." 

82. Judgement. Sentence passed. 

91. Parts. Offices, functions. Shakespeare, as an actor him- 
self, very frequently uses parts in this sense. 

Page 1 13. 103. Upon my power. Upon- my own authority. 

105. Determine. Decide upon. 

113. Tainted. Diseased. 

Page 114. 126. Wit. Sense. 

130. Pjrthagoras. A Greek philosopher who is said to have 
first promulgated the doctrine of the transmigration of souls. 

133. Govem'd. Inhabited. (Co. S.) — ^Who, hanged. Another 
instance of the hanging nominative. 

134. Fleet. Flit. 

136. Infused in. In line 132, Shakespeare uses into. The fact 
is that the O. E. in, like the Latin, meant both in and into. 

139. Offend'st. Givest annoyance to, or hurtest. 

141. Cureless. Past cure. A hybrid — as cure is Latin {cura, 
care) and less is an English suffix. 

147. Conduct. Escort or guidance. Cf. Henry V (I, ii, 299): 
"Convey them with safe conduct." 

157. Fill up. Fulfil. 

Page 1 1 5. 158. No impediment to let him lack. No hindrance 
to his receiving. (CI. P. S.) — ^Reverend estimation. Reverence 
and esteem. 

167. Holds this question. Keeps this discussion before. 

168. Throughly. Thoroughly. Both forms were used indif- 
ferently in Shakespeare's time. We still have the adjective thor- 
ough and the word thoroughfare; but Shakespeare has throughfare. 

175. Danger comes from a Low Latin word domigerium or 
dangerium, the power of inflicting damnum (loss or fine). 



NOTES: ACT IV, SCENE I 171 

Page 1 17. 177. Must. Portia had used the word in its ordi- 
nary loose meaning, as equal to ''the only thing that will meet the 
case is for him to be merciful;" but Shylock takes it up in its 
most literal, hardest, and most absolute sense; and out of this 
twist in interpretation naturally rises the beautiful speech of 
Portia — one of the finest specimens of sweet, flowing, and rhyth- 
mic eloquence in all literature. 

179. Strain'd. Constrained or restrained. 

181. Twice bless'd. Pouring forth a double blessing. 

187. Fear of. With an objective meaning. 

Page 1 18. 209. Truth. Honesty. The word truth is not con- 
fined by Shakespeare to an attribute of a statement; he applies it 
largely to persons. Cf. Henry VI, Part II (III, i, 202):— 

In thy face I see 
The map of honor, truth, and loyalty. 

212. Curb ... of. Shakespeare has only twice used this 
idiom. The other passage is in Henry IV, Part I (III, i, 169): — 

And curbs himself even of his natural scope 
When you do cross his humior. 

Page 119. 243. Hath full relation. Is in every respect appli- 
cable. 

246. More elder. Shakespeare has both double comparatives 
and double superlatives. He has: more better, more braver, 
most worst, most unkindest. 

252. On your charge. At your own expense. 

Page 120. 263. Use. Custom. Cf. HamUt (III, iv, 167).— 

Use almost can change the stamp of nature. 

270. Speak me fair. Speak well of me. Cf. Twelfth Night 
(V, 185): ''I besoake you fair.'' Shakespeare also turns /air into 
a verb, in Sonnet cxxvii, 6: — 

Fairing the foul with art's false borrowed face. 

272. A love. Lover, dear friend. See note on III, iv, 7. 

273. Repent. Regret. 

276. With all my heart. It lies in the English character to 
make these humorous remarks in the presence of death. Cf. the 
sayings of Sir T. More at his execution. When Thomas Hood was 
dying of consumption and reduced almost to skin and bone, a 
mustard poultice was put on his feet, and he was heard to whisper: 
^'There's very little meat for the mustard." 



172 MERCHANT OF VENICE 

Page 122. 322. Just. Exact. 

323. In the substance. In the gross weight. 

326. Estunation. Estimated weight. 

Page 123. 347. Contrive. Plot. 

357. Formerly. A word used in legal documents for as afore" 
said. 

Page 124. 369. That. My life. 

373. Render. Give, as in line 196. 

376. The fine for one half. The fine which is to be placed upon 
the half of his property. 

378. In use. To employ it in my business, but as trust money. 

386. Recant. Revoke. Used also by Shakespeare in the sense 
of recall. 

Page 1 25. 394. Ten more. To make up twelve jurymen, who, 
as Ben Jonson informs us, were in the time of Queen Elizabeth 
jestingly called ^'godfathers-in-law." 

400. Serves you not. Is not at your own disposal. 

401. Gratify. Reward or recompense. 

407. Cone. Requite or pay for. The word is more generally 
used by Shakespeare in the sense of encounter (either in a friendly 
or in a hostile way). — Withal. With. But m^AaZ is always placed 
at the end of the sentence. 

416. Of force. Inevitably. — ^Attempt. Press upon. Cf. The 
Winter's Tale (IV, ii): ''He will never attempt us again." 

Page 126. 440. An. An if is a pleonasm, like or ere (or and 
ere being two forms of the same word). The meaning and force 
of an were probably weakened and partially forgotten, and so if 
was added. 

Scene II 

"This scene forms a connecting link between the storm of the 
fourth and the calm of the fifth act. Gratiano delivers the ring 
to Portia, and while Nerissa is showing him the way to Shylock's 
dwelling he loses his own ring as well." 

Page 127. 6. Advice. Thought or deliberation. See I, i, 
142. 

Page 128. 15. Old swearing. Plentiful or hard. Cf. The 
Merry Wives of Windsor (I, iv, 4): "Here will be an old abusing of 
God's patience and the king's English." Old, from meaning what 
one has known of old, has come to mean that which is most re- 
markable or extreme in one's experience; as an old-fashioned 
winter is one that comes up to one's strongest idea of a severe 
winter. 



NOTES: ACT V, SCENE I 173 

ACT V 

Scene I 

"This act adds a beautiful finishing touch to the drama. We 
have first an exquisite moonlight scene between Lorenzo and 
Jessica. Portia and Nerissa enter, and are quickly followed by 
Antonio, Bassanio, and Gratiano. After the first greetings are 
over, a playful quarrel breaks out between the lovers about the 
rings, which continues until Portia, seeing the pain she and Nerissa 
are causing their husbands, tells Bassanio the truth. She also has 
good news for Antonio and for Lorenzo, so the whole play ends in 
happiness. The last act is filled with most exquisite poetry, 
hardly to be surpassed." 

Page 129. Notice the intense quietness and social calm of this 
last act and scene — which Shakespeare introduces as a contrast to 
the terrible anxiety and tragedy of the trial. 

4. Troilus, the son of Priam and Hecuba, fell in love with 
Cressid (or Cressida), a Greek. The story was a well-known one 
in Shakespeare's time. A stock-play, called Troilus and Cressid^ 
which Shakespeare took as the basis of his own, was well known 
upon the English stage; and Chaucer had, in the fourteenth cen- 
tury, written a long poem on the same subject. 

7. Thisbe. A beautiful Babylonian lady, with whom Pyramus 
was in love. They agreed to meet at the tomb of Ninus; but on 
arriving there, Thisbe was terrified by the sight of a lioness that 
had just killed an ox. She fled and left her cloak, which was 
stained with blood. When Pyramus reached the place and found 
the cloak, he thought a wild beast had killed her; and he made 
away with himself — an example which was followed by Thisbe. 

10. Dido. An allusion to the desertion of the Queen of Car- 
thage by iEneas. — ^Willow. The symbol of unhappy love. Cf. 
Henry VI, Part III (III, iii, 208):— 

1*11 wear the willow garland for his sake; 

and the beautiful song of Desdemona in Othello, IV, iii. 

13. Medea. The daughter of iEetes, king of Colchis, and after- 
ward the wife of Jason, whom she helped to seize the Golden 
Fleece; she was a great enchantress. To renew the youth of 
iEson, the father of Jason, she boiled him in a caldron into 
which she had thrown magic herbs, and thus made him young 
again. 



174 MERCHANT OF VENICE 

Page 130. 23. Out-night you. Beat you at this game of ''In 

such a night.'' 

Page 131. 49. Expect. Await. 

59. Patines. From Lat patina, a plate; the name of the 
small gold or silver plate used for the bread in the Eucharist. 

61. Angel sings. This is an allusion to the Platonic doctrine 
of "the music of the spheres." 

64. Vesture of decay. This body in which the soul is clothed 
here. 

Page 132. 66. Diana. As the goddess of the moon. 

70. Attentive. On the stretch. From Lat. tendo, I stretch. 
Cogs.: Tense, tension, intend, contend. 

72. Unhandled. Not as yet under the hand of the trainer. 

77. Mutual. This word, which ought to mean reciprocal, has 
always been loosely employed in English. A very usual meaning 
in Shakespeare is common. And Dickens uses it in the same erro- 
neous, but very popular, sense in the title of one of his novels, Our 
Mutual Friend. 

80. Orpheus. The son of (Eagrus and Calliope. He lived in 
Thrace at the period of the Argonauts, and was the musician in 
the Argo. 

81. Stockish. Insensible. Cf. the phrase ''stocks and stones." 
83 The man. Cf. Julius Ccesar (I, ii, 205), where Caesar talks 

"of that spare Cassius:" — 

He loves no plays, 
As thou dost, Antony; he hears no music. 

85. Spoils. Acts of spoliation. 

87. Erebus. From Gr. Erehos, darkness — the brother of 
Night, and the name for the gloomy space under the earth, through 
which the spirits pass into Hades. 

Page 133. 99. Without respect. Except relatively. 

103. Attended. Attended to. 

109. Endjmiion. The love of Selene (the moon) for the beau- 
tiful youth Endymion has been the subject of many a poem — 
among others, one by John Keats. 

Page 134. 121. Tucket. A set of notes on a trumpet to an- 
nounce an arrival. 

132. God sort. Dispose or arrange. Still used in this sense in 
Scotland. 

Page 135. 136. In all sense. In all reason. So also in no 
sense. Cf. The Taming of the Shrew (V, ii, 141): "And in no sense 
is meet or amiable." 

141. Breathing courtesy. Courtesy of mere breath or words. 



NOTES: ACT 7, SCENE I 175 

146. Posy. Motto. Contracted from poesy; but, according to 
some, corrupted from Fr. pensee, sl thought. 

154. Respective. Had respect for your oath. 

160. Scrubbed. Paltry, or it may be stunted, like scrub or 
underwood. 

Page 137. 172. Masters. Is master of. 

175. I were best. See note on II, viii, 33. 

Page 138. 199. Contain. Retain Cf. Sonnet Ixxvii, 9: 
''What thy memory cannot contain.'' 

201. Much unreasonable. So Shakespeare has: much forget- 
ful, much guilty, much sea-sick, much sorry. We still say not 
much unlike; but we cannot say much unlike, as Shakespeare does. 

203. Wanted. As to have lacked; dependent on much un- 
reasonable. 

204. As a ceremony. As a sacred thing. Only here used by 
Shakespeare in this sense. 

212. Did uphold. Saved. 

215. Shame in the subjective, and courtesy ( = the demands of 
courtesy y in the objective sense. 

Page 139. 232. Enforced. Forced upon me. 

241. Wealth. Well-being, and probably pronounced weelth; 
but the association with health has altered the pronunciation along 
with the meaning. Cf. the Prayer-book: ''In all time of our 
wealth;'' and in the prayer for the King: "Grant him in health and 
wealth ( = in all internal and external circumstances of good) long 
to live." 

245. Advisedly. With knowledge or deliberately. 

Page 140. 255. Set forth. Set out. 

261. Suddenly. Unexpectedly. 

265. Living. The means of living. 

Page 141. 275. Satisfied ... at full. Fully informed of the 
course of these events. 

277. Charge us . . . upon inter'gatories and answer all things 
faithfully, are legal phrases taken from the practice of the Court 
of Queen's Bench. 

279. Fear. Be anxious about. 



QUESTIONS AND TOPICS FOR STUDY 

By Cornelia Beare 

Instructor in English^ Wadleigh High School, New York City 

READING REFERENCES 

1. Shakespeare's Life. 

Bagehot. Shakespeare the Man. 

Hazlitt. Shakespeare. 

Lee. A Life of William Shakespeare. 

Phillips. Outlines of the Life of William Shakespeare 

Raleigh. Shakespeare. {English Men of Letters Series.) 

Taine. English Literature. 

2. Playwrights, Theaters, etc., of Shakespeare's Time. 

Dowden Shakespeare Primer. 
Uhici. Dramatic Art, I, 175-234. 

3. Classification of the Plays as Early, Middle, Late. 

Dowden. Shakespeare Primer 

4. Dramatic Art. 

Freytag, The Technique of the Drama. (Translated 
by E. J. MacEwan). 

5. Marlowe, especially The Jew of Malta. 

Ulrici. Dramatic Art, 1, 150-175. 

6. The Merchant of Venice. 

Gervinus. Commentaries, pp. 230-248. 

Hazlitt. Characters of Shakespeare^ s Plays, pp. 189-196. 

Snider. Historical Commentaries. Comedies, pp. 227- 

287. 
Jameson. Characteristics of Shakespeare^ s Women, pp. 

53-83. 
Ukici. Dramatic Art, II, 115-129. 

7. Venice. 

Mrs. Oliphant. Makers of Venice. 
176 



TOPICS FOR STUDY 177 

STUDY OF THE MERCHANT OF VENICE 

ACT I 

Scene I 

1. What keynote is struck by the opening words? 

2. From his own words and those of Salanio and Salarino, 
what sort of man do you think Antonio was? Sum up the char- 
acters of his two companions, as you judge from their words. 
How does Antonio estimate them? 

3. What impression is given of Bassanio at his first appear- 
ance? Of his companions, especially Gratiano? 

4. What is the effect of Gratiano 's instant comment on Anto- 
nio's gravity (11. 73-76)? Is the change a sudden one? 

5. Compare Antonio's words (11. 77-79) with Macbeth's (V, 
V, 24-26). Compare them with Jaques's in As You Like It 
(II. ii.): ^'All the world's a stage," etc. What similarity? What 
difference ? Is there any reference to the stage in Julius Coesar or 
other plays with which you are familiar? Cite their general nature. 

6. What is Bassanio's motive in wooing Portia (11. 122-134)? 
Does he love her (11. 161-176)? 

7. Explain fully the relations between Bassanio and Antonio. 

8. Explain classical allusions (11. 165-172). 

9. Explain 11. 177-179 in the light of what Antonio said to 
Salanio and Salarino (11. 41-45). Which is the true state of affairs ? 
Why? 

10. Comment on the use of prose, of blank verse, of rhyme, of 
end stopt and run-on lines, of feminine endings. 

11. Select, giving line reference, examples of (1) simile, (2) 
metaphor, (3) personification, (4) metonymy, (5) antithesis, (6) 
synecdoche, (7) allusion. 

12. Compare the introduction as a whole with that of Julius 
CoBsar; of Macbeth, 

Scene II 

1. State your opinion of Portia's character as seen in her 
words. 

2. Pick out the most telling epigrams. Put the meaning in 
your own words. Does it gain or lose, and why? 

3. Do you think Bassanio knew of the casket scheme? Why? 

4. How does this scene bear out what Bassanio says (Sc. i, 11. 
161-176) ? Is there anything to bear out his confidence of '^thrift" 
in his wooing? 



178 MERCHANT OF VENICE 

Scene III 

1. Explain the condition of the Jews at this time, especially 
in Venice. State the laws of Venice regarding trade, carried on 
by natives and by aliens (under which the Jews would be classed). 

2. At what date would trade be carried on with Mexico ? What 
evidence is there here as to the date of the play? 

3. Sum up the character of Shylock as you see him before 
Antonio enters. Compare him with Isaac of York in Ivanhoe. 

4. State exactly Shylock 's grudge against Antonio. Is there 
justice in it? On what did the Jew depend for his actual existence? 

5. What is the effect of 11. 40-51 on your estimate of Antonio? 

6. In 11. 101-137, show reasons for Shylock's hatred of Anto- 
nio. Explain how the kindly friend and courtly gentleman, 
Antonio, can act thus. 

7. Why does the shrewd merchant, who knows all his fortune 
is at sea, take the bond? 

8. Why does Bassanio, who forebodes evil, allow it? Is he 
selfish? Defend your answer. 

Sum up what has been accomplished by Act I. Who is the 
central figure? Has he passed the incentive? If so, where 

ACT II 

Scene I 

1. Sum up Morocco's character as seen in his words to Portia. 

2. Comment on her words, 11. 20-22. 

3. What new light is thrown on the casket problem in 11. 
39-42? State it as you understand it, with its conditions and its 
purpose. 

Scene II 

1. What is accomplished by this comic scene? Compare 
Launcelot with Touchstone, the fool of As You Like It. Compare 
this scene with the porter's soliloquy in Macbeth (II, iii). 

2. What view of Bassanio is here given? Comment on his 
reproof to Gratiano. Is the latter a squire or a servant? How 
has he been treated before? 

Scene III 

What is the purpose of this short scene? What is the effect, 
on your feeling toward Shylock, of Jessica's words? 



TOPICS FOR STUDY 179 

Scene IV 

What is accomplished by this scene? What in it is calculated 
to increase Shylock's hatred of Christians ? To lower your opinion 
of Jessica? 

Scene V 

Criticise Shylock as a father. What is the effect of his attitude 
on your feeling toward Jessica? Has she any love or respect for 
him? 

Scene VI 

1. State in your own words 11. 8-19. 

2. Criticise the scheme by which Jessica escapes. Her action 
in taking the money. Would Lorenzo have taken her without it? 
Why? 

Scene VII 

1. State the argument by which Morocco convinces himself 
that he should choose the gold casket. Criticise it. 

2. Comment on the manner in which he bears defeat. 



Scene VIII 

1. How long is it since Scene V? (Reasons for your answer.) 

2. Account for the fact that Salarino and Salanio have no 
sympathy for Shylock, yet much for Antonio. 

3. Criticise Antonio^s farewell (11. 38-45). 

4. How does all Venice know of the bond? 



Scene IX 

1. State and criticise Arragon's reasoning as to the right 
casket. Compare it with Morocco's. Compare the two men, 
especially the way they take defeat. 

2. Whom do you infer ''the young Venetian" to be? Do you 
think Nerissa knows it is Bassanio who is heralded, or is she sur- 
mising? Is there any hint as to why Gratiano was so anxious to 
come to Belmont? 

Sum up Act II. Indicate any dramatic moments. Has the 
action been slow or fast? How and why? 



180 MERCHANT OF VENICE 

ACT III 

Scene I 

1. What seems to be the opinion of Shylock? Do they think 
that he is a man to be specially feared? 

2. Account for their cruelty toward Shylock. What is its 
effect on his attitude toward Antonio? 

3. Why should they expect him to refrain from taking the 
forfeit (11. 50-51)? 

4. Discuss Shylock's reply (11. 52-72). What do you think of 
his reasons for hatred and revenge? 

5. What new fuel is added to the fire of Shylock's rage in the 
interview with Tubal? 

6. Criticise Jessica's actions as reported by Tubal. What is 
the worst feature? What is the effect on your opinion of her? 

7. What is the effect, on your opinion of Shylock, of this 
glimpse of a softer side in his love for his dead wife? 

Scene II 

1. What differences do you note between this and the two 
previous casket scenes? Some stage managers condense the three 
scenes into one and place it here. What is gained, what lost, 
by this? 

2. What does Portia show of her nature before Bassanio makes 
his choice? 

3. Is Bassanio in love with her or her money? Defend your 
answer. 

4. Explain the allusions in 11. 44-47. In 11. 55-60. 

5. State fully, in your own words, the argument by which 
Bassanio chooses the lead casket. Compare it with the argument 
of Morocco. Of Arragon. Did you expect Bassanio to choose « 
the right casket? Is it by outward show? Why? 

6. In what light does Bassanio here appear? Does he seem a 
fit mate for Portia? 

7. Discuss 11. 149-175 as revealing Portia's nature. 

8. Discuss the imitation by Gratiano and Nerissa. Has 
Nerissa before seemed a sort of understudy for Portia? Where 
and how? 

9. Why is the news of Antonio's trouble told here and now? 
How has Bassanio come to forget Antonio's danger? Did you 
expect him to? Why? 

10. What is the significance of Jessica's presence among her 



TOPICS FOR STUDY 181 

father's enemies, and her report of his hatred? When could she 
have heard of it (11. 268-280)? 

11. Is Antonio cruel in his letter to Bassanio? Defend your 
answer. 

Scene III 

1. Why should Antonio seek mercy from Shylock? 

2. Sum up the reasons for Shylock's hatred (11. 21-24 and 
elsewhere). Discuss the justice of each. 

3. Explain the law alluded to (11. 26-36) 

4. What is the effect of this scene, coming immediately after 
Portia's scheme for Antonio's release? 



Scene IV 

1. What is the purpose of this scene and its general time as 
compared with the preceding? 

2. Why is Portia making new plans? Does she fear Shylock 
may not accept money, or has &he had later news? How can she 
jest, as she does with Nerissa, when a man's life is at stake? 



Scene V 

What is the effect of this scene of comedy? Comment on 
Jessica and Lorenzo as seen here. 

Sum up Act III. What dramatic moments has it, and where? 
Is the action fast or slow? How and why? What character is 
foremost in action? In interest? 



ACT IV 

Scene I 

1. Criticise Antonio's bearing. Account for his failing to 
realize that there is a certain justice in Shylock 's hatred and his 
revenge. 

2. Discuss Shylock's reply to the Duke (11. 35-61). 

3. Why should Bassanio rail at Shylock when the whole oc- 
currence is his fault? 

4. What feelings underlie Antonio's words (11 69-82)? 



182 MERCHANT OF VENICE 

5. Could Shylock hold his bargain elsewhere than in Venice? 
Defend your answer. Show the justice of his reply (11. 88-102). 

6. What is the effect on the audience of Portia's entry? Should 
the audience recognize her? Why? 

7. What is the effect on the audience of this new appeal for 
mercy? 

8. Why does she ask mercy at the moment when she assures 
him of justice without it? 

9. What is the effect of Shylock's words (11. 201-202)? 

10. Portia declines to ''do a little wrong to work a great 
right" when Bassanio requests it. Is her means of releasmg 
Antonio inconsistent with this refusal? State the reasons for your 
answer. 

11. What is the effect of Portia's repeated pleas for mercy and 
Shylock's demands for ''justice and the bond"? 

12. Show how sympathy for Shylock is made to decline 
steadily. 

13. Criticise Antonio's words (11. 259-276). 

14. What is included in a bond or deed, as to the amount or 
extent of property conveyed by it? For instance, a deed of a 
house would cover what? Would Portia's reasoning as to the 
blood, etc., hold? Could Antonio plead ignorance of the terms? 
Show the justice in this injustice. 

15. Why does not Portia show mercy, as she begged Shylock 
to do, and return to Shylock the amount Antonio borrowed? 
Would you prefer it? 

16. Comment on Portia's relentless cruelty (11. 342-358) after 
her own plea for mercy at first. Is it not enough to let him lose 
the three thousand ducats? State the reasons for your answer. 

17. Comment on the sentence passed by Antonio (11. 375-385). 
Does he show Shylock the same mercy Shylock showed him? 

18. Why does no one feel any sympathy for Shylock? Did 
Shakespeare? Do you? Why? 

19. What is Portia's reason for asking for the ring? Criticise it. 
Did she expect to get it? 

Scene II 

What is the effect of this scene? Why is the deed taken by 
Portia to Lorenzo? What is the effect on the feeling of the audi- 
ence toward Shylock, when they see his property enrich Lorenzo, 
who has already robbed him? 

Criticise the act as a whole for (1) sustained interest, (2) por- 
trayal of character, (3) dramatic power, (4) fitness as a climax. 



TOPICS FOR STUDY' 183 

ACT V 

Scene I 

1. What is the purpose of this scene of peace coming after the 
stormy scene in the court? 

2. Explain the allusions in the first fourteen lines. 

3. Compare Lorenzo's praise of music with Portia's (III, ii). 

4. Comment on Portia's talk with Nerissa (11. 89-110) as re- 
vealing character. 

5. Criticise the episode of the rings. Is it out of keeping? 
Does it harmonize with Portia's character? Was Bassanio wrong 
in giving up the ring? Defend your answer. Show the value of 
the episode. 

6. Criticise this heaping up cf good fortune on Antonio. Is 
it out of keeping? Why is it given to Portia to announce? 

Compare this act with Act IV for action, interest, etc. Criticise 
it as a conclusion. 



GENERAL TOPICS FOR WRITTEN WORK 

Character Study 
Bassanio. 
Antonio. 
Gratiano. 
Lorenzo. 
Jessica. 

Shylock 

1. Attitude toward Antonio; toward his daughter. 

2. His characteristics. 

3. Defence of him. 

Portia 

1. Individuality. 

2. Character. (Compare with Portia in Julius Ccesar.) 

3. Charm. (Compare with Rosalind in As You Like It.) 

4. Intellect. (Compare with Lady Macbeth.) 

The Plots, Major and Minor. 

Outline the action, and show how the plots are interwoven. 

1. Antonio and Shylock. 

2. Jessica and Lorenzo. 

3. Bassanio and Portia. 

4. Gratiano and Nerissa. 



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